I have always been an immense fan of this score, but have never found an acceptable commercial recording. If there is/are any "powers that be", who might be reading this thread, BE IT KNOWN:
I will VERY happily pay in advance (which is something I never do) for a contemporary commercial recording of this cast. After hearing snippets of Kelli O'Hara's GORGEOUS interpretations of Fiona's songs - I would buy an OC album for her alone! SOOOOOO...
henrikegerman said: "The town really has no choice but to search for Harryand prevent his leaving. Kind of like the Into the Woods folks havingno choice but to destroythe giant's wife. But well said, adam.peterson, about Harry's being trapped against his will in the town.And I also have issues with miracle-negotiation fears not being ofindustrialization, or the English, or the gentry, but ofwitches and sorcerers and the need to defend the church agains tthem. The real villain in the piece, not that anyone realizes it, may be Forsythe for bargaining with God to begin with and for obligating everyone against their will. And, notwithstanding the violent sexuality at the wedding,Harry is really a very relatable character not only deprived of choice in his destiny but being forced to live out his life there without love.
Still, I have no problem suspending belief for the joys the show offers, or at least the ones Encores' production did."
Oh, I think Harry is quite sympathetic. I've always assumed Forsythe was the village lawyer--er, solicitor. It makes perfect sense that he made such a "bargain".
Seriously, blame Oscar Hammerstein. Perhaps his most profound contribution to the American musical was the knowledge that happy endings come only at a price: Harry, Jud, Julie, Lt. Cable, Billy Bigelow, even Rolf in the SOUND OF MUSIC (though I know OH didn't write that last book).
Hammerstein took the human sacrifice out of the church and put it into the theater, where it should be.
CATSNYrevival said: "The recording with Brent Barrett, Rebecca Luker and Judy Kaye is enjoyable."
I agree. But I probably prefer the Shirley Jones/Jack Cassidy version, with the divine Susan Johnson as Meg. (This isn't to slight Judy Kaye, whom I adore.)
Curiously, the OBC recording omits "The Real Love of My Live". Too racy for the late 1940s?
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As for whether Encores! will release an album of the current "concert" version, I have at least 8 OC albums of theirs, so it wouldn't be unusual. Patrick Wilson stars in their recording of TENDERLOIN (a must have, BTW).
I wouldn't count on a new recording. IIRC, the most recent Encores recordings had foundation funding. I doubt that the Fredercik Loewe Foundation, which paid for PAINT YOUR WAGON, would put up the money for another recording of BRIGADOON. The McGlinn recording, which contains more of the score than even the Encores production, is excellent. And the Lehman Engel recording is also very good. Too bad this BRIGADOON wasn't televised. On paper it looked as terrific as it turned out to be. Instead, we get ersatz concoctions like HOLIDAY INN.
There are some decent audios of the Encores production on you tube. I have seen no videos. I keep looking. Nothing can re-create the wonder of the show I saw, but anything is appreciated.
Could this production be headed to Broadway soon? Considering how Stephanie and Kelli are both free for some time and there will be plenty of open theaters in the winter, I think it's likely. Block has expressed an interest in reprising her role. Would love to see Steven do this on Broadway.
TheBroadwayBubble said: "Could this production be headed to Broadway soon? Considering how Stephanie and Kelli are both free for some time and there will be plenty of open theaters in the winter, I think it's likely. Block has expressed an interest in reprising her role. Would love to see Steven do this on Broadway."