âMusic Manâ doesnât miss a beat with Broderick
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âThe Wonderful World of Disney Presents Meredith Willsonâs The Music Manâ
(Walt Disney Records)
*** 1/2
Wisely, Matthew Broderick didnât try to play against type and re-create Robert Prestonâs indelible performance in this Disney remake of Meredith Willsonâs Broadway and big-screen classic. As it turns out, he didnât need to.
Where Prestonâs unforgettable Harold Hill mesmerized the good citizens of River City, Iowa, with his brash baritone and alpha male personality -- dynamic, maybe just a tad dangerous -- Broderickâs boyish con man is equally convincing, luring his small-town marks in a light, melodious tenor, resonant with wickedly wide-eyed sincerity.
Kristin Chenowethâs Marian the Librarian, though a bit too adorably girly on screen, measures up in every other way to her stage and film predecessors, Barbara Cook and Shirley Jones, respectively. A glorious vocal presence, her golden soprano finds every nuance.
The buttery, burnished brass, sparkling orchestrations and arrangements, the sterling stars and supporting cast infuse the lavish production throughout with exuberant life and the refreshing innocence of the original.
Some four decades after the show seduced sophisticated New Yorkers with old-fashioned, corn-fed charm, this rollicking âMusic Man,â executive produced by Craig Zadan and Neil Meron -- the pair who produced the Oscar-nominated âChicagoâ -- not only pays tuneful homage to the 1950s classic, it makes its own sunny way into the heart of nostalgic Americana.
Unfortunately, the new soundtrackâs quality isnât reflected in the miserly liner notes: No lyrics, no comprehensive credits and a page devoted to promoting ABCâs Tuesday lineup.
-- Lynne Heffley
First ladies with sly wit, subtlety
âFirst Lady Suiteâ (PS Classics)
***
Composer Michael John LaChiusaâs âFirst Lady Suiteâ is a surreal reverie on the peculiar fishbowl in which some of the more prominent 20th century first ladies and their staff members found themselves swimming. In each case, the imagery of flight is used as an emblem of escape. Adapted from last yearâs estimable Blank Theatre Company production of this trilogy of one-act musicals, the CD is even more absorbing.
The second time around with music of this subtlety invariably brings new rewards. But the CDâs printed lyrics make it easier to appreciate LaChiusaâs sly asides. And the dreamy quality of the material and LaChiusaâs introspective score -- which uses recitative, as well as melodies that begin but then take odd left turns -- may be better suited for the privacy of home listening, without the expectations of big production numbers and more extended storytelling.
The first segment, âOver Texas,â is set on an airplane thatâs flying Jackie Kennedy to Texas in November 1963. Although Jackie appears in a dream, the dreamer and leading character is her down-to-earth secretary Mary Gallagher (Heather Lee), who expresses some pent-up frustrations.
âWhereâs Mamie?â is the most developed and goofiest of the stories, almost a sitcom parody. In 1957, Mrs. Eisenhower (amusingly chipper Eydie Alyson) time-travels to Europe to witness her husbandâs World War II infidelity. Her traveling companion is none other than Marian Anderson, who is pleading the case to enforce the desegregation of the Little Rock, Ark., schools.
âEleanor Sleeps Hereâ has Amelia Earhart giving Eleanor Roosevelt a nocturnal flight over Washington in 1933, while Eleanorâs friend Lorena Hickok (Mary-Pat Green) jealously grumbles about the way she has sacrificed her own career as a reporter to become Eleanorâs affectionate aide.
The CD omits a brief fourth segment that was in the Hollywood production, in which a man played the role of Bess Truman. The omission enables us to take the other segments more seriously.
-- Don Shirley
This is their quest, to follow that star
âMan of La Manchaâ
(RCA Victor)
*** 1/2
Despite mixed reviews, the current Broadway revival of âMan of La Manchaâ continues to do respectable business. Judging from its cast recording featuring Brian Stokes Mitchell, this is no fluke.
Although cynics dismiss it, the showâs idealistic message seems no less apt now than at its 1965 premiere. Dale Wassermanâs libretto frames Miguel de Cervantesâ saga of deluded Don Quixote within Cervantesâ Spanish Inquisition ordeal, and neither delusions nor inquisitions have exactly disappeared.
Neither have Mitch Leighâs arching melodies and Joe Darionâs straightforward lyrics. One can fault their score for prosaic excess, but in context its sweep is unassailable -- thereâs a reason âThe Impossible Dreamâ is deathless.
Here, the caramel-throated Mitchell is supreme, approaching originator Richard Kiley. Elsewhere, Mitchell sustains an individual intensity that culminates in an affecting finale.
His panache neatly dovetails with Mary Elizabeth Mastrantonioâs beautifully sung Aldonza and Ernie Sabellaâs endearing Sancho Panza. They front a resplendent ensemble, with Stephen Bogardusâ Carrasco particularly fine.
Producer Jay David Saks includes considerable dialogue, combining with Robert Billigâs guitar-laden musical direction to approximate Broadway zarzuela. This doesnât supplant the original, but it is an arresting alternative, catnip for fans of its nonpareil star.
-- David C. Nichols
A one-joke show of dubious value
âDebbie Does Dallasâ
(Sh-K-Boom Records)
*
The original cast recording of âDebbie Does Dallasâ opens with a warning: âWelcome to the âDebbie Does Dallasâ CD. Please be advised: Parental discretion is recommended.â They neednât have bothered. This stage adaptation of the 1978 porn classic is mainly offensive in its vacuous lack of point.
A 2001 New York International Fringe Festival hit, âDebbieâ can be blamed on Susan L. Schwartz (concept), Erica Schmidt (adaptation) and Andrew Sherman (songs).
Adhering to the movieâs, um, plot line -- high schooler negotiates her virginity in a quest for Dallas Cowboys cheerleaderdom -- the musical substitutes songs about sexual behavior for actual sexual behavior. Whether this represents an improvement on the source material is questionable.
The cast wields ripe pop chops, led by Sherie Rene Scottâs neutron-powered heroine. Mary Catherine Garrison, Caitlin Miller, Tricia Paoluccio and Jama Williamson are her coeval coeds. Paul Fitzgerald, Del Pentecost and Jon Patrick Walker seduce in multiple roles.
Still, a one-joke concept does not a musical make, especially when its rock-flavored score is so decidedly unmemorable. Perhaps on stage she scores as campy goof, but as an album, âDebbieâ is chiefly notable for having been recorded in the nude.
D.C.N.
*
Albums are rated on a scale of one star (poor), two stars (fair), three stars (good) and four stars (excellent). The albums are released unless otherwise noted.