Bdn223- I think you're quite wrong about DEH being a lock. With Bette from Dolly and Jake from Sunday I think it will actually be quite a race given the politics of the Grammy's (where the 'actual' best album usually never wins and they give it to the celebrity of the winner for best musical)
Jacobsnhz14- I can't say much other than what I've said! Once the release date comes out you won't have to wait long.
@Taylor Somehow I managed to forget about Bette Midler and Hello Dolly, which is a much more likely lock then DEH, despite being very disappointed in the cast album. Jake on the other hand is not a musical icon, and I would put much more weight behind Groban's cache then I would Jakes.
if that wretched Dolly recording wins an award for best cast recording that will be an affront to the entire concept of awards as well as the word "best" considering it was my least favorite cast recording of the year.
"Contentment, it seems, simply happens. It appears accompanied by no bravos and no tears."
"Oh look at the time, three more intelligent plays just closed and THE ADDAMS FAMILY made another million dollars" -Jackie Hoffman, Broadway.com Audience Awards
Thank you Taylor for the info. I can hardly wait any longer! With only two cast recordings of this score available, it's going to be a very special album.
gypsy101 said: "if that wretched Dolly recording wins an award for best cast recording that will be an affront to the entire concept of awards as well as the word "best" considering it was my least favorite cast recording of the year."
""if that wretched ____ wins an award for best ____ that will be an affront to the entire concept of awards as well as the word "best" considering it was my least favorite ____ of the year."
^replace some of the words and that pretty much describes my opinion of many Tony Award outcomes. And I'm sure many others feel the same way. Awards are frustrating and subjective.
gypsy101 said: "if that wretched Dolly recording wins an award for best cast recording that will be an affront to the entire concept of awards as well as the word "best" considering it was my least favorite cast recording of the year.
I don't hate it but better recordings of Hello Dolly already exist. Anyway, I've never been that bothered about the Grammy's. I just want to know when this is going to be released.
The Dolly recording definitely isn't "terrible" it's just serviceable. It's a mediocre recording of a phenomenal production. I still listen to it though. It has it's moments, but I still prefer the Bailey recording. Unfortunately it really is a strong Grammy contender due to Bette's involvement.
If I could nominate 5 albums right now:
The Great Comet (should win)
Dear Evan Hansen (probably will win and I ain't even mad)
Falsettos
Hello, Dolly!
and probably SITPWG (I imagine that it will be a lovely album)
GeorgeandDot said: "The Dolly recording definitely isn't "terrible" it's just serviceable. It's a mediocre recording of a phenomenal production. I still listen to it though. It has it's moments, but I still prefer the Bailey recording. Unfortunately it really is a strong Grammy contender due to Bette's involvement.
If I could nominate 5 albums right now:
The Great Comet (should win)
Dear Evan Hansen (probably will win and I ain't even mad)
Falsettos
Hello, Dolly!
and probably SITPWG (I imagine that it will be a lovely album)
I love all of those albums (even the nonexistent one, it has to be good. It's SITP), but the only ones realistically being nominated are probably Great Comet/Dear Evan Hansen/Hello, Dolly!/Falsettos. SITPWG is taking way too long to release their cast recording.
Do you really think: the grammys care about how long it takes to release a recording? Or that they care all that much about theatrical musicals?
The answer is no.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
All I'm saying is that the recording needs to come out before September 30th, or there is no chance they will get a nomination for next year's awards. The Grammys do have an eligibility period that requires a recording to have come out in a set timeframe?? I don't understand your first point.
Considering that voters are "supposed" to vote in only genres of their expertise/ only allowed to vote for 15 of the 80 genre categories during the nominating round of voting, I don't think it is at the top of many voters lists for their 15 allowed votes. Add to that even among those with expertise there will be at most 16 Broadway cast albums with a few off-Broadway, and concert recordings, which is likey one of the smallest submission pools for any grammy category. Its not like SITPWG will be trying to grab nominators attention for one of the overall categories, thus as long as its released by the end of September it should be fine.
This is likely why Kinky Boots' west end cast recording was nominated last year, as Lauper and her friends in the industry (of which i assume are many) likely went out of their way add it to one of their 15 nomination ballots, but elected to vote for more competitve categories during the final voting.
This theory would give Dolly and Comet and edge during the nomination round, with DEH as the reigning best musical getting a nom. Then the last 2 spots are very much open, if they decide to fill them.
I do think that Bandstand has a likely chance of being nominated due to its Hamilton connections, that go out of their way to nominated it.
The the final spot I see as a competition among theatrical favorites/legends, altough most of these final products are nothing to build a career on:
A Bronx Tale (Menken)
Ananastasia (Ahrens and Flaherty)
Holiday Inn (Irving Berlin)
Sunday In The Park with George (Sondhiem-clearly the superior, but you never know)
Last but not least is the wildcard of the season that was Come from Away, which could easily replace Sunday or Bandstand.
^ that's true. Next season will probably have noms for MFL, Band's Visit, and then a couple open slots. But wouldn't they want to captitalize on the show now, since it was a limited run and one of the more overlooked shows of the season? Of course they don't need to win, it looked to be a good show even without the universal recognition, but it'd be nice publicity for them. Iirc it was recorded in early Summer/late Spring so I have no idea what is holding this up.
At this point, I'm convinced that somebody accidentally deleted everything they recorded and they're hoping nobody will remember this was supposed to happen.
Ugh every time someone bumps this thread I get so excited. Such a weird situation that they still haven't released any information...especially since it was originally intended to be released in June.
I heard they're handing it over to Jay Records who will release it as a double set with their Anyone Can Whistle recording in 2050.
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
In our millions, in our billions, we are most powerful when we stand together. TW4C unwaveringly joins the worldwide masses, for we know our liberation is inseparably bound.
Signed,
Theater Workers for a Ceasefire
https://theaterworkersforaceasefire.com/statement