I saw it twice in the last three days.... and was there at closing.... I thought it was a great show...
It still could have used another rewrite.... add a good 11 o'clock song for Sherie and could have cut THE MICROPHONE... and YESTERDAY TOMORROW.... but I really enjoyed the show... great energy... and a nice score... can't wait for the soundtrack.
Has anyone gotten there's yet? I live in the city and I got an e-mail saying it was shipped last Wednesday. I should have had it Thursday, no later then Friday. I'm getting really impatient.
Certain numbers do just pop off the recording, including "Lovesick," which is just one of several numbers deftly handled by Sherie Rene Scott as Pepa, and "The Microphone," which Brian Stokes Mitchell, playing the womanizing Ivan, sonorously infuses with swarthy sexiness and insincerity. Additionally, there's what might be one of the most sprawlingly funny numbers ever written for the theater, "Model Behavior." Delivered with comic gusto by Laura Benanti, this song hysterically brings a series of increasingly frantic and scattered voicemails to life.
Listened to this a little bit. Some songs are pretty hilarious- I really love the lyrics to "Lovesick" - did people LOL at this in the theatre? (I would be awkward if there were silence). (I had a ticket to this show but didn't end up going).
Also, is the order of the tracks different on the recording than in the theatre? The synopsis in the booklet and track listing seem different.
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
The original preview song list (I think the only thing that was changed was having Madrid as an opening number for the first act and cutting My Crazy Heart):
ACT 1 My Crazy Heart Lie to Me Lovesick Time Stood Still My Crazy Heart (Reprise) Model Behavior Island The Microphone On the Verge
ACT 2 Madrid Mother's Day Yesterday, Tomorrow and Today Tangled Invisible Island (Reprise) Marisa/The Chase Lie to Me (Reprise) Shoes from Heaven
"Movies will make you famous; television will make you rich; but theatre will make you good." - Terrence Mann.
Thanks to those who kept us informed! I just d/l'ed the digital album and am now thoroughly loving Madrid Is My Mama. The cast seems to be having a ball on this recording! I saw the show three times when it ran, and I'm pleasantly surprised that it got a Tony nom. I know there were folks out there determined to see this show die (and they got their wishes), but I'll be putting this recording in HEAVY rotation.
If ever a show title gave an accurate description of what that music and performances will sound like when you press "Play," this would be it. Mostly frantic and frazzled and funny, with occasional respite, the cast album of Women on the Verge of a Nervous Breakdown breaks down into a series of neatly rhymed, hyperkinetic, frenetic displays of raw nerve endings for savvy comical effect. It works well for what it is and the cast pounces on the material, strutting their vocal stuff and playfully reinforcing the idea that love is a drug with a kick, but addiction difficult to kick. It's high-spirited comedy, often feeling like a cartoon. Sherie Rene Scott, in the key role of Pepa, is given some richer material and manages to invest some pathos; she presents a more three-dimensional (or two-and-a-half-dimensional) character, singing with more heart and insight. But she can incite a blizzard of bombast with the best of 'em.
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000