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TALKIN BROADWAY SOUND ADVICE: TOP TEN CAST ALBUMS of 2008 1-14-09

 http://www.talkinbroadway.com/sound/january1409.html

After ringing in a new year, what cast albums released during the previous year are still ringing in our ears? Some are disappointments, mere curiosities, or items diverting enough for a "glad I heard it" reaction, but not something we pull off a shelf or play list more than once in a blue moon. Others are the "keepers"—the ones that continue to stand out from the pack and pack a theatrical punch that doesn't lose too much of its impact on repeated listenings. Here are those top ten cast albums released for the first time in the calendar year of 2008

THE LITTLE MERMAID
STUDIO CAST (GUIDE VOCALS) AND KARAOKE TRACKS
Stage-Stars Records
Much as I've admired the albums of musical theatre scores put out by Stage-Stars Records, I never really thought I'd have them on a Top Ten list besting out original scores performed by more experienced performers and full orchestras. But bear with me. Though the stated purpose and marketing intention of this company is to present karaoke instrumental tracks and what's called "guide vocals" for the learning of songs and accompaniment for little productions and rehearsals, the singers they hire are often excellent. Whereas some of their albums are unevenly cast, this one is tops all around. They've outdone themselves and the youthfulness and enthusiasm of much of the cast works in favor of the youth appeal of the material.

Musical director Jason Wynn (who also neatly takes on the role of Flotsam) has managed to take the sparkly and varied score about sea creature comforts and "scale" it down for the learning-friendly clear accompaniment tracks and still retain the heart and joy and dynamism. Christina Bianco in the title role is appealingly girlish and full of wonder—just spot on. Like several others on the album, she's someone whose work I've admired in New York City cabaret shows over the last year or two. The coup of the casting is the company having enticed the bundle of caustic, sarcastic dynamite, Sharon McNight, cabaret award-winning performer and Tony nominee/Theatre World Award winner (for Starmites). The sassy and outrageous strutting performer is ideal for the showy role of the evil-but-hilarious Ursula, all cackling laugh and crackling energy. She bites into it like the juicy plum role it is and scores a major home run, making me laugh out loud at lines I know by heart as if they were freshly ad-libbed asides. Billy Ernst makes an endearing prince, and cabaret singing comedian Booth Daniels (of the team Booth and Pat) shows his vocals and theatrical chops as he chops up the seafood blithely and slightly sadistically as the chef in "Les Poissons." Stage Stars regular Kristopher Monroe is at his musical comedy best, turning in an especially fully realized and bubbly fun-filled, pun-filled numbers ("Positoovity" and "Human Stuff," a couple of the terrific new songs written for the stage version).

Like other shows in their growing library, the package contains a disc of the vocals (with personality-plus renditions that still keep one "on track" by attending to musical values and tempi) in addition to a second disc with just the instrumental accompaniments. In singer-friendly keys, the guides are generally clear and should suit the many wannabe little mermaids in school, community theatre and backyard and basement productions. A surprising choice, admittedly, I enjoy this rendition for its freshness and spunk and professionalism as much as I do the grand and glorious Broadway or movie versions.

 

Sharon McNight at the Metropolitan Room

Written by Jay Jeffries   

Sharon McNight may well be the funniest woman in the world! Judging from the gales of laughter emanating from the Metropolitan Room last night, I think that’s a safe thumb_sharon_mcnight_x.jpgassumption to make. In a delirious hour and forty minute show, she generates a cacophony of chuckles, giggles, guffaws, whoops and downright belly laughs. And that’s not all, folks!

“Gone, But Not Forgotten” is Sharon’s madcap tribute to the songstress/comediennes who are not longer with us but whose fame lives on and on.  Remember Judy Canova, the Ozark Nightingale?  Well, Sharon McNight summons her up singing “The Wabash Blues,” complete with yodels. She begins with “Please Don’t Talk About Me When I’m Gone,” an apt theme for the evening, and a tribute to the late great Ethel Waters. 

Along the way, she manages to channel Madelaine Kahn channeling Dietrich singing Mel Brooks’ loony “I’m Tired” from “Blazing Saddles.” And later, hardly exhausted after tributes to Betty Hutton singing “Rumble, Rumble” and Ethel Merman singing “Some People” (complete with Merman’s trademark high C), she conjures up “Tired,’ the song which brought fame to Pearl Bailey.

But there’s nothing tired about Sharon McNight. Blessed with a pair of saucer eyes and a cupid’s bow mouth that keeps straying to the side of her face, she is a veritable bundle of electric energy. She knocks off Patsy Cline’s “Sweet Dreams” and “I Fall To Pieces,” and scats her way through Martha Raye’s jazz version of “Old Man River.” Now that’s something you won’t hear anyone else do in a cabaret act these days!

Before the evening is over, we’ve also been treated to Sophie Tucker belting “The Man I Love,” Hildegarde warbling “Darling, Je Vous Aime Boucoup” in her fractured French, and a brilliant imitation of Bette Davis, almost on key, croaking Frank Loesser’s “They’re Either Too Young Or Too Old” complete with a punch bowl-sized martini glass and garnished with a gargantuan olive.  All of this, of course, with the right amount of memory-invoking patter and outlandish ad libs.

Think you had enough? Think you’ve already laughed until your sides are splitting? Get ready! Sharon begins singing the plaintive verse to “Over The Rainbow” and segues into the entire Munchkin scene from “The Wizard Of Oz” where she manages to portray Judy Garland, Billie Burke, Margaret Hamilton and an entire cast of Munchkins, houses falling on witches, broomsticks flying through the air, waltz clog steps, and side quips in quick succession. It’s an amazing feat and she still isn’t tired!

Last night she closed with “Bacon,” a zany homage to her favorite food, but I’m so tempted to return to hear her sing Noel Coward’s bittersweet “If Love Were All.” Sharon is California-based so, when you get a chance to see her in The Big Apple, run, do not walk to wherever she is playing. She is the consummate cabaret comedienne at the peak of her game.

The wonderful Ian Herman is Sharon's musical director and accompanist

April 26, 2008

 

Reviews for "Red Hot Mama"

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Reviews for "Sophie Tucker Songbook"

 

 

Reviews for "Songs To Offend"

Reviews for "Anthems"

Reviews for Sharon's other shows
Review for HATS