CAROUSEL revival cast album to be released 7/13; tracklisting and cover — Page 3

IdinaBellFoster said: "It's on Apple Music! I just downloaded it to my phone."

It is? I searched Carousel and it’s not showing up

Listening to the samples on iTunes, I find Mendez' singing to be really distracting and not enjoyable to listen to. After hearing so much about Henry's rendition of "Soliloquy", I downloaded the track based on the reception here, and I find it underwhelming.

Listening to it on Appl music only on the overture but I prefer the National theatres version for clarity and drama.

EllieRose2 said: "It's not great. Like the Hello Dolly! new cast recording, very underwhelming. They should have done a cast recording when it was put on in 2013 with Kelli and Nathan. Much better voices, much bigger talent."

Except that the LCT concert had a horrendous Billy.

I won’t be seeing this in New York after reading all of the negative comments about the production...but, as many people here predicted, and are affirming, it sure does make for a great cast recording! I’m enjoying Tunick’s orchestrations and all of the performances. The recording has “life” to it as does the new “My Fair Lady” recording.

it makes me even angrier that we got such an underwhelming recording of “Hello, Dolly!” last year.

I'd trade Nathan Gunn for Lindsay Mendez and that accent of hers."

I would trade anyone for him to play any part in this revival. Literally any part.

IdinaBellFoster said: "I searched "Carousel Broadway" and then scrolled through the available albums. It appears to be listed as
"Rogers & Hammerstein's Carousel"."

After searching for Mueller and Mendez and Rodgers and Hammerstein’s Carousel, this is he one that worked. I had to scroll forever to find it. That was way too hard to find

Curiously, no track from this revival appears on the 2018 Tony Awards Season album...just like how nothing from HELLO DOLLY was on the 2017 record. Literally every other new musical production- good, bad, or otherwise- from these past two seasons (excluding WAR PAINT) contributed a track to these compilations.

I could be making an incorrect assumption, but it feels like Mr. Rudin will gladly scarf up Tony Awards, but won't give an inch to the pomp-and-circumstance of the celebration itself. Idk

It is a testament to how awful the show was that I can listen to You'll Never Walk Alone on the soundtrack and my eyes starting welling up within 20 seconds, whereas when viewing the show I felt absolutely nothing.

Updated On: 6/9/18 at 12:05 PM

qolbinau said: "I haven't seen the production and don't know the show incredibly well, but Lindsay Mendez appears to have a lot of personality and goofyness in her performance - I personally see this as a good thing. At least it's memorable. Jessie Mueller sounds very verynice but is surprisingly reserved/replaceable.

You'll Never Walk Alone sounds a little self-indulgent to me but again I do appreciate the singer has a lot of personality in her voice and the choices she makes.

Enjoying "Soliloquy", although at times with his southern(/midwestern?) twang and slow speech I can't help but get a vibe of comic Obama impersonator at times (I know that's random).

Overall, it is hard to see how this could be such a fiasco on stage. But I'll take your word for it."

I thought Mendez was wonderful and the crowd I saw it with loved her.

I actually quite like Mendez's accent. It feels genuine to the character, and to who her Carrie is. Broad, yes, but at least she's making a choice - which is not something I can say about a lot of actors in this cast.

With the case of the bench scene, it almost feels like they just want to get it over with. I don't understand recording as much as they did if they were going to cut so much. As someone else said, the cuts are glaring. I would have rather them just record two stand alone solos for Mueller and Henry.

Also, and this is a small quibble, but why did they clean up the language? Hammerstein wrote it the way he did for a reason. The way both Billy and Julie speak in this production is too clean, too educated. "The blossoms are just coming down by themselves." is grammatically correct, yes, but hearing Julie always, always say "theirselves" reminded me, as an audience member, that she's a mill worker, and now she's lost her job, and now what is she going to do? Where is she to go? It doesn't make sense to have the lower class accents if they're going to make the language higher class. Did that bother anyone else?

Sally Durant Plummer said: "Cinders, even more troublesome with the cuts in the Bench scene is I'm not sure if that's how it is being done on stage. With the cuts O'Brien has made since the first preview, I could imagine the intense cuts in dialogue that is currently on display on the "If I Loved You" track. Still, if it was just cuts for the recording, the 1993 National Theatre recording runs 80 minutes. Why would they need to make cuts to fit the (cut) score onto one disc?

Also, is it just an odd mistake that Mendez says "Did you like it when he talked to youthat way? When he put you on the carouseltoday?" Cause that is very weird."

A cd only holds 72 minutes of music.

Sally Durant Plummer said: "Also, is it just an odd mistake that Mendez says "Did you like it when he talked to you that way? When he put you on the carousel today?" Cause that is very weird."

I remember her doing that during the first preview, and my thought was, "Oh, man, she messed up but caught herself so well." I suppose they decided to switch them around for...whatever reason. It doesn't scan as well, I'll say that much. Plus, I'll always miss the way Mueller read "Put you on the carousel that way." - almost as if she was fantasizing that Enoch would be that passionate with her. I don't know. I can't feel anything but disappointment after assembling such a good cast and then taking a hacksaw to this show. It's almost like if they cut the title number from the Bette Midler production of "Hello, Dolly!" - what's the point? I miss the full score. I can only really seem to get into the Mendez tracks. And as soon as Mister Snow ends and I hear a rushed Joshua Henry on lackluster orchestrations, I flee to the magic and intimacy of Joanna Riding and Michael Hayden, or to the radio broadcast of Laura Osnes and Steven Pasquale. Nuance matters.