Broadway in a Box
I offer two sets of reviews for this set. There is a reason for this. I often post reviews to Amazon.com, and when I post positive reviews, the responding commentator (of my review) will usually identify the review as helpful. If I post a negative review, I will receive generally an “unhelpful” ranking. Negative reviews from me often receive feedback that comments on my stupidity. It would be like being called an idiot for preferring chocolate by a vanilla aficionado. This current review has two sections so that my review may be received differently based on where one lives. Desperately desiring only favorable feedback on my reviews, I decided to write two reviews. The first review should only be read by those who live in New York City, would like to live in New York City, or who do not live in NYC but have an “I ♥︎ NYC” bumper sticker; if you fit this category, do NOT read the second review. If you do not fit this description, don’t waste your time on the first review and read only the second review.
First Review with New Yorker sentiments ★★★★★
The Broadway musical is a reflection of New York at its best, with the glamour, delight, and gaiety that exemplifies New York. In this most delightful collection of musicals reflecting Broadway plays from most of the 1960s and 1970s, we see the charm that has brought such acclaim to Broadway. These recordings are a delightful collection of the best of the best that Broadway had to offer in those years, and are the original recordings of each of the musicals contained therein. A visit to New York gives one the electric excitement of a dynamic city. It is to this city that we owe much of the cultural innovation of the last century, and from Broadway that a true gift is given to the rest of America. An amalgam of Vaudeville, Tin-Pan Alley, and Big Band Jazz styles in contemporary settings offer a musical feast for the ears. To New York, we owe our culture. They tell us what to buy (Madison Avenue), how to save (Wall Street), how to think about current events (NY Times), what to eat, how to live, and what to enjoy in music. And to Broadway, we owe a perfect reflection of Americana, music that is truly American. The only thing missing in this box is the video, which would have been nice to go along with the soundtrack. It is a bargain and well worth the enjoyment of listening to it many times over.
Second Review with Rest of the US sentiments ★
The Broadway musical is a reflection of absolutely the worst in American music, including its obscenity, its triteness, and its failure to resurrect the listener from the slums of abject boredom. Its theme of boy-girl love (or sometimes boy-boy/girl-girl love) dominates nearly every musical. The music itself could have been written by a trisomic Mongoloid—if one simply writes a nonsense talking script and then generates a singsongy tune to accompany it, you have most of what is found on these CDs. Very little reflects true creative genius. But this is so typical of New York—vacuous glamour with a presumption of greatness. There was very little in the vocal performances to be admired. The frequent use of singing children does not provide rivalry to the vocal greatness of the Wiener Knabenchor or die Thomanerchor. Adult voices were not pleasant, especially female voices which were raspy and quite irritating. How any group of people, let alone a whole megalopolis of people, could tolerate this rubbish defies imagination. Some musicals, like “Chicago” were just plain obscene. Others, like “Hair”, attempted to make light of the radical Hippy movements of the late 1960’s through a love fest to the Hare-Krishna New-Age Jesus amalgamated religion. Certain musicals would probably have never made popularity if they weren’t “fixed” by Hollywood — this is especially true of the Rogers and Hammerstein musicals. The contents of this box with brief comments are as follows…
Disc 1: Annie (Original Broadway Cast) – raspy little kid sings “they’ll love me tomorrow”, but what about today?
Disc 2: Anything Goes (1987 Lincoln Center Theater Cast) – ho-hum. Obviously, anything does go in NYC.
Disc 3: Cabaret (Original Broadway Cast) – NY envious of Berlin pre-war decadence. Jolly right, ole’ chum
Disc 4: Camelot (Original Broadway Cast) – Came little. Ho-hum
Disc 5: Carousel (1965 Music Theater of Lincoln Center Cast) – June is busting out all over!
Disc 6: Chicago (Original Broadway Cast) – Sewage, not fit for Chicago
Disc 7: A Chorus Line (Original Broadway Cast) – ho-hum
Disc 8: Company (Original Broadway Cast) – super ho-hum
Disc 9: Fiddler on the Roof (Original Broadway Cast) – yea, ok, the Jews all left Russia and moved to NYC, wishing to be rich men. We know that already.
Disc 10: Guys and Dolls (1992 Broadway Cast) – c’est ennui. Can’t anybody in NYC compose an interesting story line script?
Disc 11: Gypsy (Original Broadway Cast) – hyper ho-hum
Disc 12: Hair – I didn’t realize that Krishna was hairy. Looks like the age of Aquarius is already over. With global warming, NYC will have the age of Aquarium.
Disc 13: Hello, Dolly! (Original Broadway Cast) – desperately needs Satchmo
Disc 14: How to Succeed in Business Without Really Trying (Original Broadway Cast)- deserves an Oscar for the worst script ever
Disc 15: Into the Woods (Original Broadway Cast) – a failed attempt to improve on die Gebrüder Grimm
Disc 16: The King & I (1964 Music Theater of Lincoln Center Cast) Not sure why Yul Brynner and Hollywood decided to tackle this one.
Disc 17: Man of La Mancha (2002 Broadway Cast) – it is no wonder that Hollywood didn’t tackle this one, it’s an impossible dream.
Disc 18: My Fair Lady (Original Broadway Cast) “super-sexist” and would never be tolerated by today’s standards. Read Pygmalion instead.
Disc 19: Oklahoma! (1979 Broadway Cast) – Jed Clampett also had a beautiful morning once in Oklahoma, but immediately left it for Beverly Hills
Disc 20: Oliver! (Original Broadway Cast) – Little orphan Oliver! Male version of Annie
Disc 21: Show Boat (1966 Music Theater of Lincoln Center Cast) – Broadway subtly engaged in self-adulation
Disc 22: The Sound of Music – The hills may be alive with the sound of music, but Broadway is definitely NOT in the hills. Still trying to solve the problem of Maria
Disc 23: South Pacific (Original Broadway Cast) – New York’s method of making a bloody war romantically beautiful, n’est pas? Nous aimons les guerres!
Disc 24: Sweeney Todd (Highlights) (Original Broadway Cast) – Sweeney Who? This musical actually has highlights?
Disc 25: West Side Story (Original Broadway Cast) – Why couldn’t Leonard Bernstein just stick to conducting the NY Philharmonic? Amazing that somebody that sells themselves as the great professor and philosopher of music and adorer of Noam Chomsky could deliver something so trite. Bad music, bad script. The Beatles did better; the musical “Yellow submarine” far exceeds anything in this show. Compare Bernstein’s “America” with Rammstein’s “Amerika” and Rammstein will win handsomely.
First, Bernie attempts a half-hearted mess “everything is free in America” are some of the first words… spoken like a true liberal on welfare
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Now, Rammstein will tell you what Amerika is really all about…
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The late 20th century has produced exemplary music. Unfortunately, it has mostly come from eastern Europe. The West in their godless decadence has lost any ability for true creativity. Once entertainment is stripped of meaning, it becomes nothing more than a hedonistic bacchanalia that fails to offer to an audience anything of lasting value. Comparable musicals that show more class include a) the Strauss musicals, including Die Fledermaus, in spite of the falsetto of Prince Orlofsky, the music and story line are funny and memorable b) the Gilbert and Sullivan musicals, which had horrid story lines and scripts, made up for by reasonably good music. Even such mushy schmalzy musicals (operettas) such as those of Lehar (Land des Lächelns, e.g.) has minimally very impressive music in them. The only thing that the Broadway musical does well is to truly reflect contemporary Western culture. To that, the listener should hear and weep. I gave away this series to a good friend so that he could also do a little weeping. He’ll probably sing along to the recordings while in the shower.
If you’ve read this far and you are of the group that lives, loves, or belongs in New York, then clearly you’ve read too far. Shame on you. I suppose you read other people’s mail. You probably even support the NSA (and Obama) reading everybody’s mail. But, I’ll give you some advice that you can take to your friends on Broadway. Try a merger of Broadway with Hollywood. Here’s an example: merge a war musical and a war film. You can take South Pacific and The Sands of Iwo Jima. Once you have John Wayne hunkered down on the beach the first night on Iwo Jima, as evening sets in, have him suddenly stand up and start singing “Some Enchanted Evening”. The Japs can come out to provide the orchestral background, and the wounded soldiers beside John can sit up on their stretchers and offer the oohs and aahs. Once the soldiers reach the summit of Mt. Suribachi and they get ready to raise the flag, the John Wayne is joined by Jane Fonda (in her Barbarella outfit, but military green to match the Duke) and they sing Bali Hai with all the same words, but substituting “Iwo Jeem” for “Bali Hai”. For another merger idea, one can merge two Broadway musicals. Take the West Side Story. . . in the middle of the song “Maria”, some nuns can come out and start singing “How do you solve a problem like Maria” from the Sound of Music. Later, during the duet “Tonight, tonight, tonight may be the night”, Annie comes out singing “Tomorrow, tomorrow, just wait ’til tomorrow”. Mel Brooks could have a feast on Broadway shows.
Broadway in a Box