THE DESERT SONG (Original: 1926, last revival: 1974) - one of the most popular operettas of the 1920s and now rarely seen. A recent CD reissue from Masterworks Broadway makes the case for the score. The story is a bit of fluff bu5 then so is PHANTOM OF THE OPERA - the same crowd that flocks to the fake romance of the latter might also appreciate THE DESERT SONG.
GOOD NEWS (Original: 1927, last revival: 1974) - a great example of 1920s "collegiate" musical comedy. If not a full staging maybe an Encores concert?
OF THEE I SING (original: 1931, last revival: 1952) - I know it has been done by Encores but in an election year this sparkling satire would be great fun.
CAROUSEL (original: 1945, last B'way revival: 1994) - contains one of Richard Rodgers' most beautiful scores, but requires really strong voices.
BRIGADOON (original: 1947, last B'way revival: 1980) - I know a lot of people here don't like fantasies, but this is a charming show that isn't done all that often any more.
CALL ME MADAM (Original: 1950, no revivals) - See comment on OF THEE I SING above. Perfect representations of 1950's musical comedy. Good score but need a real star to play the lead. A star who can sing, act, dance (a little), have a classy demeanor and be able to sell tickets. Why aren't there any of those around today??
THE MOST HAPPY FELLA (Original: 1956, last revival: 1992) - a touching story (when played with great sincerity) and rich, robust adn musically varied score. Deserves to be better knowna dn seen more often.
FIORELLO! (original: 1959, never been given a full revival except for concert stagings at Encores.) I have never seen this show -I suspect few people on here have - but it has a great score and a literate (at times quite funny) book. Get the script from your local library and the original cast album and go through it for yourself. Pulitzer Prize winner.
THE UNSINKABLE MOLLY BROWN (Original: 1960, no revivals) - with all the hoopla over the 100th anniversary of Titanic, I am surprised this hasn't been dusted off and re-mounted even in concert form. The script gets a bit redundant as it progresses, but a great star role for an singer with a good chesty belt voice.
GOLDEN BOY (Original: 1964, no revivals) - the source play is being remounted this season but the score for the musical has many powerful moments. Is the interracial romance too dated now even if the show is set in the 1960s?
GRAND HOTEL (original: 1989, no revivals) - The original staging is still talked about but a creative director could do a fresh take on this.
CITY OF ANGELS (original: 1989, no revivals) - another show with an elaborate/intricate staging but a fantastic score by Cy Coleman and a very clever and funny script.
A few flops that could possible be looked at again:
ALLEGRO - People know the name and they know R&H but the show is rarely revived. Maybe Sondheim could revise it and make it work?
PAINT YOUR WAGON - a terrific and popular score by Lerner & Loewe but the book needs considerable revision.
DO I HEAR A WALTZ? - I know the creators have disowned this "dead baby" but the original play should make a good script and the score by Rodgers and Sondheim has many delights.
MACK AND MABEL - Shaw Festival;s revival a few years ago made a strong case for this show. It still doesn't break your heart the way it wants to but they are getting closer.
BABY - The songs by David Shire/Richard Maltby Jr are to notch and if the script could be be rebuilt to be about real characters the idea is solid enough. Get rid of the sitcom level jokes.
STEEL PIER - another fantasy but a show with a very fine Kander and Ebb score. Script wastes too much time building up minor characters but with recent TV shows built on the idea of viewers voting for favourite performers maybe this could be reworked into a workable show.(I saw the original..it was far from terrible..In fact it had a number of good moments and creative staging ideas. People seem to forget that it got more favourable reviews than the season's Tony winner TITANIC.)
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
