TheatreBoard Official: PART 2 Top Sondheim Recordings

Many thanks for the replies so far. My credit card is anticipating some heavy action.

Interesting that no one is choosing Video favourites?
On C4 years ago they had a series of his shows at Christmas. I was really intrigued by Bernadette Peters in ITW. However that film and also the one of Sweeney, left me cold.
The Liz Taylor ALNM was often cited as terrible and I think it’s release was delayed for some years? Anyone seen it?
Anyone seen the film where he wrote the script with Anthony Perkins? Worth seeking?



I went out last night so apologies for neglecting my duties. Back to Part 2.

These were the next 7. Recommendations please.

Sunday in the Park with George
Company
Assassins
West Side Story
Merrily We Roll Along
A Funny Thing Happened On The Way To The Forum
Gypsy

Still happy to receive more recommendations on the top 3 and on Wednesday we'll ask for any others to be added.

Sunday in the Park with George - OBC is the tops but the 2006 recording deserves a mention just to hear the different spare orchestrations, and Evans' and Russell's vocals. But how can you beat Mandy Patinkin and Bernadette Peters? (Side note: I wish there was a recording of the original London production with Philip Quast and Maria Friedman).

Company - Though the OBC is a classic, my personal favorite recording is the 2006 John Doyle revival. It's so clean and crisp, and the new orchestrations are gorgeous. The original often sounds clunky and dated to my ears… some of the orchestrations are very 70s, and some of the voices can be grating. That being said Elaine Stritch is a goddess of the theatre and her iconic Joanne deserves to be owned on record.

West Side Story - so many recordings of this show. There's the OBC which makes the score sound fresh and exciting (because it was); there's the 2009 Broadway cast recording with some of the lyrics controversially in Spanish (this recording overall is bland, though I think it's worth having for the top-notch band that they had; Maria Scaglione leaves a lot to be desired as Maria); there's also the Bernstein-conducted studio cast with Kiri Te Kanawa and Jose Carreras which is a guilty pleasure of mine because of the magnificent voices (a lot of people understandably think they are not suited at all to the score, but I think it's fun to listen to what they do with the music - the film documenting the recording of the score is hysterical for many reasons and worth watching); there's a couple of other studio recordings including a complete rendering of the score on the JAY label conducted by John Owen Edwards featuring Caroline O'Connor as Anita. The 2009 would be my favourite (perhaps) if it weren't for the new translation of lyrics - so I would guiltily say the Te Kanawa recording because it's overseen by the composer himself (how often do we get to have that kind of luxury?). For purists I'd imagine the OBC is at the top of the list.

Merrily We Roll Along - the OBC is charming and preserves that beautiful original cast of the production that closed after only a handful of performances - their innocence and eagerness is undeniably plastered all over the recording and it's adorable; the JAY recording featuring the London company of the show with Maria Friedman et al is more complete and is a superb offering of the score; the 2012 New York cast recording is also pretty complete and features some lovely performances (particularly Celia Keenan Bolger as Mary)… I think when push comes to shove, I would go with the OBC because it's such an historical production. (Why oh why didn't they record the 2013 London revival with Damien Humbley and Jenna Russell…?)

Gypsy - This is such a smack down of recordings. I think the OBC is essential to have because of Merman's iconic performance, and to me the only other one really worth having is the 2008 LuPone recording because she is such a force of nature, and the entire company and orchestra is superb. You can physically smell the depth of that production just from the recording alone. The other stage recordings - 1973 Lansbury, 1989 Daly, 2003 Peters, 2015 Staunton - have their merits but all collapse due to one thing or another, but mostly the vocal limitations of all four ladies (Peters fares the best of the lot in that regard). The two Gypsy films are horrendous, and so I would never allow myself to have either of those soundtracks.

I would say overall, with most musicals, it's worth having the original cast recording as a blueprint and then there is always at least one revival recording that is worth having (if not two).

It was broadcast in cinemas, and released later (in video) on Digital Theatre. Sadly now deleted, I think.

I mean an audio studio CD release… I was discussing cast recordings not video recordings. 

Sunday
The OBC cuts a lot of lyrics in Putting it Together and Color and Light but is still far and away the best recording. As much as I adore Evans and Russel, they are no match for Peters and Patinkin. Also, the full orchestra on the OBC and the nice extra tracks like the cheesy Julie Walters putting it Together and the Carnegie Hall recording of Sunday makes it my favourite. The 2006 recording also includes too much dialogue for me which tends to annoy me, especially when they have full tracks which are just dialogue!!

Company
The John Doyle/ Raul Esparza recording of Company is my favourite as it escapes that 70s feel of the OBC because of the new orchestrations and it has the most tuneful rendition of 'the Little things you do together' with other versions just tending to descend to gruff shouts. I have a soft spot for the Donmar recording though, and love to hear Adrian Lester Rebecca Front, Sophie Thompson, Anna Francolini and Clive Rowe (incidentally whose Enoch on the National's recording of Carousel is astonishing!). They are incredible and it's fascinating to hear people like Rebecca Front who never really is on stage nowadays take a part in that show. The film of that production is on YouTube and definitely a favourite film recording of mine (certainly a million times better than the NPH concert staging).

Assassins
Have only ever listened to the OBC which is pretty great!

West Side Story
I will always love the film soundtrack. I also occasionally listen to the Carreras/ Kiwi the Kanawa recording which is hilarious as it shows that opera singers can't necessarily turn their hand to musicals and be as brilliant (te Kanawa's recording of My Fair Lady with Jeremy Irons is another entertaining example). Their is a pretty funny Toutube video of Carreras trying to record 'something's coming' and Bernstein getting furious as he rushes every time.

Merrily
It's interesting comparing the OBC to subsequent recordings to examine the structural and lyrical changes. My favourite is the Friedman/ Pappas Leicester recording which has the most heart and the least dialogue. I also like the Lin Manuel recording but I find it unforgivable that 'Good Thing Going' is shared between Frank and Charley.

Funny thing happened
Have only listened to the OBC and can't imagine any recording topping it. Zero is great and 'I'm Calm' and 'that dirty old man' both are examples or genius comic turns.

Gypsy
The Merman OBC is extraordinary and the extra tracks make it pretty hard to top. That being said, the last London recording with Staunton comes close and I probably listen to this recording more now. Maybe it's just because I saw it live but Rose's Turn and Everything's Coming Up Roses always leaves me with tears when I listen to the London recording. All I need is the girl is also superior in the London recording. It is also a more complete recording, including the Toreadorable scenes.

Oh I adore Merm as Mama Rose but I do have a soft spot for the Patti LuPone 'Gypsy' recording. I just love how Patti just grabs you by the throat and doesn't let go for the entire thing. She attacks each song with her PLP lazy diction and all the subtlety of a house brick through your kitchen window. No-one matches her "I'll get it, and get my kids . . . OUT!" in 'Some People'. It's a work of genius with a capital GENIUS.

OT. In Part one of Finishing the Hat he discusses Rhyme’s and why perfect ones are best as they allow the mind to move on. He dismisses most rock songs for their imperfect rhymes. He then disparages a rock writer who proudly says he’s writing a musical and who thinks imperfect Rhymes will do just fine.

Anyone figure out who he’s referring to? Would Paul Simon fit the timeline?

Probably not. FTH was published 2010, long after The Capeman. Spiderman: Turn off The Dark, maybe (2010). Memphis was 2009, so could possibly fit, depending on when the book was being written.

Thank you for that I really enjoyed the review. As well as through his works his books will live on as an influence lyricists for generatiosn to come.


I ws hoping it wasn't Paul Simon but couldn't think who esle it might be? Should have checked the dates.