#26
Posted: 8/11/12 at 1:10pm
Yeah, sorry about that Revenge Park, I was typing on the cell phone again while waiting in a parking lot. That auto correct spelling feature really hurts more than it helps.
INTO THE WOODS Cast Recordings — Page 2
#27
Posted: 8/11/12 at 1:27pm
I will say that on the OBCR, there is no way Bernadette says "fiddleferns" during the witch's rap.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
#28
Posted: 8/11/12 at 3:43pm
Julia McKenzie sings the absolute **** out of the Witch on the OCLR. I mean, her Last Midnight is perfection, and the magnificent operatic dimensions of her voice shine through in Our Little World and even the Lament. This is a Witch with a whole lot of depth, and it really comes across on the recording. Staunton is sublime as the Baker's Wife on this recording too. OBC or OLC are both worth having in your collection.
#29
Posted: 8/11/12 at 3:44pm
double post
Updated On: 8/11/12 at 03:44 PM
#30
Posted: 8/11/12 at 4:30pm
I think DE's listings may be coming from the score (or a listing from one of the musician's books). I know that each of those snippets have separate titles in there, even though several of them move directly into one another.
#31
Posted: 8/11/12 at 4:30pm
I think DE's listings may be coming from the score (or a listing from one of the musician's books). I know that each of those snippets have separate titles in there, even though several of them move directly into one another.
#32
Posted: 8/11/12 at 4:38pm
I think you can stream the Peter's version on Netflix currently. It's def worth watching.
#33
Posted: 8/11/12 at 4:38pm
While the OBC is magic, the sound mixing is quite meshy and the quality of the orchestrations is terrible. Watch the TV recording for great quality of the score and a magical performance. The revival recording however, even though there are some let downs in the cast (why was the bakers wife so bland?) is a wonderful listen. The quality and orchestrations are fantastic. Laura Benati and Vannessa williams are superb and a reason to listen to the recording alone. Add me to the minority that enjoyed changes to the score and " Our Little World". I also love the harmony at the end of "Steps on The Palace" between Cinderella, Red, and Jack. And wasn't Adam Wylie not up to par to sing Giants in the sky?
Updated On: 8/12/12 at 04:38 PM
#34
Posted: 8/11/12 at 5:04pm
"Our Little World" ... an awful song that was rightfully cut and put back in because....well, I don't know why.
Jordan - The song was NOT cut from the original Broadway production. Sondheim explains on p.68 of LOOK I MADE A HAT that the song was written to be added to the original London production to give "a happy maternal moment" for the witch and Rapunzel.
The mere fact that you don't like the song does not justify your making stuff up!
Jordan - The song was NOT cut from the original Broadway production. Sondheim explains on p.68 of LOOK I MADE A HAT that the song was written to be added to the original London production to give "a happy maternal moment" for the witch and Rapunzel.
The mere fact that you don't like the song does not justify your making stuff up!
Cast albums are NOT "soundtracks."
Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
I host a weekly one-hour radio program featuring cast album selections as well as songs by cabaret, jazz and theatre artists. The program, FRONT ROW CENTRE is heard Sundays 9 to 10 am and also Saturdays from 8 to 9 am (eastern times) on www.proudfm.com
#35
Posted: 8/11/12 at 5:45pm
What was the design like for the first London production?
"There’s nothing quite like the power and the passion of Broadway music. "
#36
Posted: 8/11/12 at 5:49pm
...or, frontrow, Jordan was simply mistaken. Geez.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
#37
Posted: 8/11/12 at 5:57pm
Bwayphreak if you search YouTube for London Into The Woods there a few promotional clips from the show.
#38
Posted: 8/11/12 at 7:29pm
..or, frontrow, Jordan was simply mistaken. Geez.
Jordan is frequently "mistaken." He spews his venom into almost every thread that appears. Just try and find a thread he has not infiltrated.
If would be fine if his posts were helpful or informative, but most of the time he is throwing up his childish snot-nosed remarks, thinking that being the resident "bitchy show queen" is his role. He also doesn't bother to check facts or research anything...he just makes stuff up and if no one challenges him then it must be true.
Geez indeed.
Now, to the question at hand, my first choice for an INTO THE WOODS recording is the 1987 original Broadway cast. The premiere cast is pretty much unmatchable and I like the way the recording is laid allowing the listener to follow the story easily. Despite a few strong performances I do not enjoy the London cast recording or the 2002 revival. One extra bonus on the 1987 set is the inclusion of several passages cut from the score before opening night (and therefore not on the DVD, which I also highly recommend.)
Jordan is frequently "mistaken." He spews his venom into almost every thread that appears. Just try and find a thread he has not infiltrated.
If would be fine if his posts were helpful or informative, but most of the time he is throwing up his childish snot-nosed remarks, thinking that being the resident "bitchy show queen" is his role. He also doesn't bother to check facts or research anything...he just makes stuff up and if no one challenges him then it must be true.
Geez indeed.
Now, to the question at hand, my first choice for an INTO THE WOODS recording is the 1987 original Broadway cast. The premiere cast is pretty much unmatchable and I like the way the recording is laid allowing the listener to follow the story easily. Despite a few strong performances I do not enjoy the London cast recording or the 2002 revival. One extra bonus on the 1987 set is the inclusion of several passages cut from the score before opening night (and therefore not on the DVD, which I also highly recommend.)
Cast albums are NOT "soundtracks."
Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
I host a weekly one-hour radio program featuring cast album selections as well as songs by cabaret, jazz and theatre artists. The program, FRONT ROW CENTRE is heard Sundays 9 to 10 am and also Saturdays from 8 to 9 am (eastern times) on www.proudfm.com
Updated On: 8/11/12 at 07:29 PM
#39
Posted: 8/11/12 at 7:36pm
I used to prefer the revival cast recording to the others. Benanti is wonderful, and actual quality of sound is much better. But, objectively, I came to realize that the OBCR is by far better, especially after seeing the DVD performance (which, as other's have mentioned, is available on Netflix. I just fished watching it again). I'll note that I also really enjoy the London recording. It separates a lot of the longer songs into separate tracks and I think the musicality of the entire cast is spot on.
Men don't even belt.
#40
Posted: 8/11/12 at 7:56pm
Laura Benanti is the highlight of the Revival Recording. I wish she was of age during the OBC, alas she was only 8. Benanti on the OBCR would be one for your money.
#41
Posted: 8/11/12 at 8:06pm
My INTO THE WOODS Timeline went like this:
OBC Filming > OBCR > Bought Libretto > NBCR > OLCR > Regent Park Filming
I love all of them! I cannot rate the filmings because they're so different from each other and of different directions and interpretations. I think both are great, though.
For the recordings, I always like the newer production values and sound quality in every revival recording that comes up that wasn't available for the original recordings. I give that award to the 2002 revival recording, but it's not the studios' fault back then that the quality is not as advanced as most of today's recordings.
As far as performances go, I love both the original Broadway and London casts and Laura Benanti in the revival. I like Vanessa Williams's take on The Witch, but I can't help but think during the Prologue: you are listening to Vanessa Williams, not the character of The Witch, if you get what I mean. But other than that, Williams gives a good vocal performance, in my opinion. But I love how McKenzie sounds in the role!
OBC Filming > OBCR > Bought Libretto > NBCR > OLCR > Regent Park Filming
I love all of them! I cannot rate the filmings because they're so different from each other and of different directions and interpretations. I think both are great, though.
For the recordings, I always like the newer production values and sound quality in every revival recording that comes up that wasn't available for the original recordings. I give that award to the 2002 revival recording, but it's not the studios' fault back then that the quality is not as advanced as most of today's recordings.
As far as performances go, I love both the original Broadway and London casts and Laura Benanti in the revival. I like Vanessa Williams's take on The Witch, but I can't help but think during the Prologue: you are listening to Vanessa Williams, not the character of The Witch, if you get what I mean. But other than that, Williams gives a good vocal performance, in my opinion. But I love how McKenzie sounds in the role!
#42
Posted: 8/11/12 at 9:46pm
I love the West End recording, everyone on it can really sing, McKenzie and Stauton are awesome, and it has my favorite Cinderella, Jacqueline Dankworth (Cleo Laine's daughter).
Benanti, of course sings it perfectly, but Dankworth has a more interesting sound, to my ears.
Benanti, of course sings it perfectly, but Dankworth has a more interesting sound, to my ears.
#43
Posted: 8/11/12 at 9:51pm
Can we at least agree that the packaging for the revival recording is spectacular? Nonesuch always does such a good job. Especially with the Sondheim titles.
#44
Posted: 8/11/12 at 11:36pm
I Agree, I also love the book that came with it and the quality is much better.
Updated On: 8/11/12 at 11:36 PM
#45
Posted: 8/12/12 at 12:58am
The original West End production is one of my fav memories.
It proved you could re-design a show with the script pretty much in tact and re-invent it that way. The clips on youtube show the great costumes but not the set. The three houses were set at angles and moved away to show a white wall with a huge swiss cuckoo clock up center. There were doors along the white wall and lots of chairs made of twigs and tree pieces used to create the scenes. At one moment the stage went completely black and the entirs stage was lit with tiny stars and Jack was standing on a chair as he started GIANTS... it was simple and simply spine tingling.
In the second Act the cuckoo clock has gone, well, cuckoo with springs and birds popping out all over the place.
I adored the set and the show and the costumes.
And OUR LITTLE WORLD was a terrific addition added seamlessly and did exactly what Stevie said, added connection between Witch and Rap and added some humor also.
It proved you could re-design a show with the script pretty much in tact and re-invent it that way. The clips on youtube show the great costumes but not the set. The three houses were set at angles and moved away to show a white wall with a huge swiss cuckoo clock up center. There were doors along the white wall and lots of chairs made of twigs and tree pieces used to create the scenes. At one moment the stage went completely black and the entirs stage was lit with tiny stars and Jack was standing on a chair as he started GIANTS... it was simple and simply spine tingling.
In the second Act the cuckoo clock has gone, well, cuckoo with springs and birds popping out all over the place.
I adored the set and the show and the costumes.
And OUR LITTLE WORLD was a terrific addition added seamlessly and did exactly what Stevie said, added connection between Witch and Rap and added some humor also.
Updated On: 8/12/12 at 12:58 AM
#46
Posted: 8/12/12 at 1:00am
Is the video of the Prologue on YouTube an accurate representation of the set? It was definitely black and white and a little bit abstract.
"There’s nothing quite like the power and the passion of Broadway music. "
#47
Posted: 8/12/12 at 1:48am
Not at all, that looks like something left over from the Brit version of HULLABALOO.
It was completely different.
It had a very Euro Fairy Tale look.
The original BWay design, which I liked a lot and especially the revival were more bright/primary colors. more like a Disney color theme.
The major colors were green and brown appropriately, in the West End.
It was completely different.
It had a very Euro Fairy Tale look.
The original BWay design, which I liked a lot and especially the revival were more bright/primary colors. more like a Disney color theme.
The major colors were green and brown appropriately, in the West End.
#48
Posted: 8/12/12 at 3:05am
Jordan, I wholeheartedly agree with your assessment of the 2002 production. Here's my question: How does Vanessa Williams keep getting work in the theater, in Sondheim musicals no less? She's not a particularly wonderful singer, she can't really act. I guess she can dance. Is it because she's good looking in revealing clothes? I just don't get the appeal.
#49
Posted: 8/12/12 at 3:17am
From SPIDER WOMAN to BIRDIE to WOODS, I think Williams has proved that she is quite a good singer. Her voice isn't necessarily a musical theater voice. She has a great pop/smooth jazz kind of voice, but I think she can sell a musical theater score.
I still say that her lowered Witch's keys are the eeriest versions of Witch's music on record.
I still say that her lowered Witch's keys are the eeriest versions of Witch's music on record.
#50
Posted: 8/12/12 at 3:26am
I still say that her lowered Witch's keys are the eeriest versions of Witch's music on record.
Agreed. Her Last Midnight is definitely the creepiest one out there, and she sounds incredible singing it. I also think she sounds stellar during Children Will Listen. Benanti and Williams are the main reasons why the 2002 recording is my favorite.
Agreed. Her Last Midnight is definitely the creepiest one out there, and she sounds incredible singing it. I also think she sounds stellar during Children Will Listen. Benanti and Williams are the main reasons why the 2002 recording is my favorite.
"There’s nothing quite like the power and the passion of Broadway music. "
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