Profile for Jake01

Yes, I got one of those too! I love theatre history, so that was a treat.

Didn’t see an existing thread about this, so thought I’d start one.100 years ago today, May 23 1921, the original production of “Shuffle Along” opened at the 63rd Street Music Hall in New York City. An incredibly groundbreaking smash hit show. I was fortunate to see the short-lived 2016 production (and am still bitter that a cast recording wasn’t made), and am currently listening to the wonderful “Sissle & Blake Sing ‘Shuffle Along’” album to commemorate.Happy 100 to Noble Sissle’s, Eubie Bla...

"The Highest Judge of All" was indeed in Lyric Opera's production, yes. The RNT/Lincoln Center production deleted it because, according to the liner notes in the cast album booklet, "Hytner felt it impeded the flow of the story and was in any case inspired by the need to cover a scene change that, in today's technology, can be negotiated in seconds."I loved Lyric's production, despite its flaws, but remember it receiving harsh criticism from some posters here. It seems like the current reviva...

The 2008 revival is essential for the cut songs (though I suppose you could just download those?). How I love love love the full, originally-intended version of "Small World/Momma's Talkin' Soft".

Double

I entirely agree with your assessment, Andy51: "better distill the brilliance of the compositions", yes, indeed. I suppose the 1979 original is "definitive", but there's something about the supremely creepy orchestrations of Doyle's 2005 revival that continually draw me to that recording.

"Do we really need a "For Good" Wicked style ballad for Patrick and Spongebob?"I mean, I understand where you're coming from and I get your point, but still: I thought that song was very memorable and it has stayed with me and my friend for the past year. We've been looking forward to the cast recording release for it primarily. Something about it that touched a cord...

Happy to see such raves for this from the Chicago press! This is heart-stopping theatre: I have never, NEVER, seen a play before this that received such an audible reaction from the audience: uncomfortable murmurs, loud gasps, even some talking back to the characters ("F*cker!" was heard at one point in response to something Eddie did or said). Truly a magnificent production of a play, I admit, I never cared for much before. But this interpretation is riveting. See it!

I've only seen Mr. Thompson as Joe Mott in "The Iceman Cometh" at the Goodman in Chicago, but I thought he was devastating. If you have the opportunity to see him as the Prince of Denmark, do it!!!!

I ADORE this score so much! Not sure about "definitive", but while my go-to is the 1973 original, I recently re-listened to the 2009 revival for the first time in years, and found I enjoyed it quite a bit: the completeness; the addition of select dialogue; the performances of Alexander Hansen, Angela Lansbury, Aaron Lazar, and, yes, Catherine Zeta-Jones; and even the orchestrations, which I appreciated for what they were and thought were nonetheless still effective and beautiful.

Chicago, Chicago, Chicago. A vibrant and adventurous storefront community. SO many risk-taking companies and wonderful opportunities for non-equity actors to get their foot in the door.I know you specified "west coast", but just throwing it out there in case you're open to relocation. Good luck in your pursuits!

"Guys and Dolls" is one of my favorite musicals of all time, and for definitive, I'd have to give the title to the 1992 revival starring Nathan Lane, Faith Prince, Peter Gallagher, and Josie de Guzman.However, I have to also recommend the 1995 studio cast recording for the playing of the score by London's National Symphony Orchestra. The full "Runyonland" and nine-and-a-half minute "Havana" are so full of energy and musicality, it's fantastic.

I LOVE the motion picture soundtrack. Topol is my favorite Tevye, by far; so much warmth and feeling and good humor in his performance. And violinist Isaac Stern as the eponymous Fiddler means the violin solos are probably the best one will ever hear on any recording of the score. John Williams' Oscar was certainly well-deserved, as the dance music, especially in "To Life" and "Wedding Dance", are absolutely rich and thrilling.

Andrew Varela for Frollo, please, when the Les Miserables tour wraps up! On a related note, with Cameron Mackintosh's plans to bring Les Miserables back to Broadway next year, that and Hunchback running on Broadway at the same time would be amusing...

I second "It Would Have Been Wonderful". "We Can Do It" from THE PRODUCERS, however, would be my choice. A great contrasting of personality types.

The THOROUGHLY MODERN MILLIE tour got better reviews than the Broadway production; it probably seemed less overblown without the excessive turntable and working elevator, both cut by necessity. Also, it had a phenominal cast, headed by Darcie Roberts (I always wondered what Ben Brantely would have thought of her, since he found Sutton Foster grating in the role).

"Dance of the Robe" from AIDA. It's thrilling on the cast recording, but the tempo of the dance break for some reason was MUCH slower on stage.

Passion Titanic Ragtime The Wild Party (Lippa) The Last Five Years Hairspray The Light in the Piazza Spring Awakening In the Heights Anything by David Yazbek And if movies count: The Nightmare Before Christmas The Hunchback of Notre Dame (Menken)

CITY OF ANGELS is brilliant. So, so funny, and so cleverly constructed, and so underrated! Truly one of the few books that could play just as well without the score.

Jdrye222, that ending of "Aida" was pretty damn amazing. And when the star drop rose, revealing the tomb exactly where it had been, only now as an artifact in a museum? Brilliant. Bob Crowley is a genius.