Talkin Broadway just put up a great review of Bright Lights
BRIGHT LIGHTS, BIG CITY
PREMIERE RECORDING - STUDIO CAST
Sh-K-Boom Records
Some things take more time than others. When novelist Jay McInerney gave permission for his novel Bright Lights, Big City to be turned into a musical, composer-lyricist Paul Scott Goodman went to work. He had 20 songs written in a mere six weeks, but it's taken six years after opening night for a cast album to appear. This rock musical has seen some changes since it played at the downtown New York Theatre Workshop where it was, unsurprisingly, compared to Rent, which also premiered there with the same director, Michael Greif.
In this belated cast album, Patrick Wilson (The Full Monty, Oklahoma!, Phantom Of The Opera film) returns to play the leading role he originated. He's a Manhattanite in the 1980s who loses his job, his mother and his marriage, and he tries to drown his troubles in liquor, drugs and sex. To say Wilson dominates the album is an understatement, as he is in 22 of the 29 numbers. Fortunately, he is dynamite. Singing and acting with passion, anguish, tenderness and flashes of humor, he presents a very troubled and very human character. The character and his life may be spinning wildly out of control, but the dynamic Wilson is in full control.
The studio cast includes major Broadway players in significant roles: Gavin Creel (La Cage Aux Folles, Thoroughly Modern Millie), who gets to be angry instead of sweet; Eden Espinosa (Brooklyn); Jesse L. Martin (Rent); and, best of all, Sherie Rene Scott (Dirty Rotten Scoundrels) as the leading character's new love. Scott's spectacular voice and warmth are a big, big plus on this or any album. Here, she adds romance and gentleness to a few songs that provide a break from the hard-driving rock sound. Christine Ebersole scores as the boss. Celia Keenan-Bolger (... Spelling Bee) is haunting in a brief appearance, and you'll even hear Kelli O'Hara (Light In The Piazza) as part of the chorus which is heard on about one-third of the tracks. Everett Bradley (Swing!) is entertaining as both a blues singer and TV reporter Chuck Bean ("Chuck Bean on the scene"). Sharon Leal as the wife has some strong moments, especially in a solo, an ode to her chosen career as a model.
Some moments are fairly effective storytelling, but not necessarily stand-alone songs that will make you press "repeat play." There's a heavy dose of anger and rage that may seem relentless, but there are enough changes of pace (humor, beauty, sarcasm) to get through it. The score has a pulse that won't quit and it's truly exciting in large measure, the rock sound totally appropriate to the time, the milieu and the characters' angst. It's rather difficult to believe that all the music comes from a five-man band; it's led by Roger Butterley who did the arrangements and plays guitar and keyboards. The vocal direction and vocal arrangements are by Ann Marie Milazzo who is part of the chorus, in addition to returning to her 1999 role as the mother. She turns in an emotional and thoughtful performance. Some of the tracks are shorter pieces, acting as conversation "links" to tell the story, rather than full-fledged numbers.
I hope the rock style won't turn away people who resist blast and bombast. The music is very, very theatrical. There is tremendous emotion in the score as sung and played. It's hot. If you think you might still be resistant, I've saved the best news for last. Composer Goodman's lyrics hold many joys. There is wit and he loves to rhyme: multiple rhymes in close proximity, unusual but in-character rhyme choices and some fun slang. (A couple of favorites: the boss scolding, "You're terminally unpunctual. Your work is quite dysfunctional," and in the comic rant "I Hate The French": "I'd rather have the English with their tea and Judi Dench. Marie Antoinette, bench that wench. I hate the French.") There are also some words that may offend, and this is my first review of a CD which has the "Parental Advisory: Explicit Content" label. Yes, this is an adult musical about adult life. But the label I'd put on it would read: "Warning: Content may stimulate emotions and make you think, cry, or dance. Do not attempt to listen without an open mind."
Without ME its just AWESO!
