Craft Recordings and Concord Theatricals have announced the digital release of the R&H Goes Pop!album. Featuring contemporary takes on timeless Rodgers & Hammerstein classics, the album is now available for pre-sale and will be released on Friday, March 26.
It wasn’t meant to be airing until late 2021 but the filmed version of the Broadway production of Hamiltonwill now be airing this summer. With the cinematic release of In The Heights being pushed back to next year, it means that Lin-Manuel Miranda will still get his chance to take over our households once again.
Is there a market for cast recordings from uninspired jukebox musicals. On Summer – The Donna Summer Musical’s evidence, I find it hard to think so.
“Enough is enough is enough is enough”
Yeesh. Summer – The Donna Summer Musical may have wasted no time in releasing a cast album but it really does point up some of the problems with the market’s increasingly reliance on jukebox musicals. As good as the performances by the likes of LaChanze and Ariana DeBose are and make no mistake, they are two sensational singers who fully deserve their Tony nominations, who is a record like this really aimed at?
It’s no great leap to suggest that fans of Donna Summer will always turn to her albums. For there’s nothing here in the vocal arrangements or the instrumentation that actually elevates it above and beyond a conventional covers album. There’s no narrative through-thread that can be gleaned from the sequencing, no startling insight that makes you reconsider the music anew, it all feels – sadly – rather pointless. Continue reading “Album Review: Summer – The Donna Summer Musical (2018 Broadway Cast Recording)”
“Even mocking cheerleaders cannot hide the emptiness in my soul”
Before Hamilton, but after In The Heights, Lin-Manuel Miranda found the time to write the score to the musical adaptation of one of my legit favourite films, the Kirsten Dunst-starring high school cheerleader classic Bring It On. With Tom Kitt and Amanda Green, Miranda brings a defiantly 90s feel to the sound of Bring It On: The Musical, an interesting choice that doesn’t always necessarily work but is fascinating with it.
The story has been changed a little from the film from what I could make out but the bones of it remain the same – intense rivalries both within high school and with other high schools culminating the cheer-off of all cheer-offs at National where everyone has to ‘bring it’. And reflecting the urban diversity of this world, elements of pop, RnB and hip-hop are easily folded into the Broadway template make this modern, if weirdly dated, score. Continue reading “Album Review: Bring It On: The Musical (2012 Original Broadway Cast Recording)”
I can understand why people might be feeling a little Hamilton-ed out with more than 12 months to go until it opens at the Victoria Palace and no let up in the hugely successful Broadway run, even as the original cast members are beginning to scatter. I even sometimes think I feel that way myself but the minute I pop the cast recording on to listen to a song or 3 or even the whole damn thing because I can’t resist, I am swept up once again in Lin-Manuel Miranda’s genius.
Part of this comes from the care and attention that was put into creating the Official Broadway Cast Recording, multiple recording sessions over several days were put in with The Roots on production duties, ensuring the layered complexity of every aspect of the score was preserved on record. And it is densely packed, it needs, nay demands, multiple listens to unpack not just the lyrical content but also the musicality, the richness of the orchestrations and how detailed they are. Continue reading “Album Review: Hamilton (2015 Original Broadway Cast Recording)”
Where to begin? Could anyone have expected the phenomenal success of Hamilton? Turning into the biggest Broadway hit of an age, accepting invitations to the White House, reinventing day queue culture, being the subject of made-up scandals, winning Grammys, all while radically challenging traditional notions of musical theatre. The build up of such hype has been thrilling to see but also poses questions like ‘could it really possibly be that good?’. And ‘how on earth does one get tickets for find out for oneself?’.
In short, the answers are yes and by booking months ahead in my case. I deliberately hadn’t listened to the original cast recording when it was released as I wanted to experience it for the first time on stage and knowing full well that I would get to see it one way or another, I also denied myself any of the multifarious online offerings so that the first I saw of Hamilton would be as the curtain rose at the Richard Rodgers Theatre. And I have to say the anticipation and delayed gratification was completely worth it – that said, I’ve struggled to write about the show in a satisfactory way (“I will never be satisfied…”) so treat this as an outpouring rather than a review. Continue reading “Review: Hamilton, Richard Rodgers Theatre”