BWW CD Reviews: Nonesuch's HERE LIES LOVE (Original Cast Recording) is Bubbly, Pop-Laden Fun

BWW CD Reviews: Nonesuch's HERE LIES LOVE (Original Cast Recording) is Bubbly, Pop-Laden Fun

BWW CD Reviews: Nonesuch's HERE LIES LOVE (Original Cast Recording) is Bubbly, Pop-Laden Fun
Album art courtesy of Nonesuch.

Imelda Marcos is a ripe public figure for having a biographic musical written about her. Personally, I always expected a musical about her life would have that grand and epic cinematic sound of Andrew Lloyd Webber's EVITA (you know, the musical about the world's other pull-yourself-up-by-your-bootstraps female political figure that took the world by storm). However, I couldn't be more pleased with David Byrne and Fatboy Slim's rich pop score for Here Lies Love. With their smooth beats and rhythmic backdrops, their score is reminiscent of contemporary Philippine Pop music while giving listeners everything they would expect from David Byrne and Fatboy Slim.

David Byrne and Fatboy Slim's score for Here Lies Love is deliciously poppy and filled with beats that make you want to dance along with the music. The tracks on the album range in style from Electronic Dance Music ("Riots and Bombs") to variations on tropical calypsos ("Sugartime Baby") and to pop-funk inspired tracks ("Dancing Together"). Additionally, they have composed some truly beautiful ballads for the show as well, namely "The Rose of Tacloban," "Walk Like a Woman," "Solano Avenue," and "Gate 37." With the range of musical styles encapsulated on the recording, every track sounds fresh and original. Progressing through the dual-disc album, the listener is kept guessing as to what will come next and is constantly and pleasantly surprised.

Lyrics by David Byrne are believable and realistic. He ignores the elevated language of the musical medium, giving audiences cleverly constructed metaphors and sentimental overtures that sound grounded in reality and emotional authenticity. Every line sounds utterly human, creating art from the language of the average person. Where some lyrics may seem hyperbolic, one just needs to look through the stunning book of liner notes to realize that Imelda Marcos actually banged her head against the wall during a nervous breakdown.

The stars of the album are Ruthie Ann Miles as Imelda Marcos and Melody Butiu as Estrella. With a soft, soprano instrument, Ruthie Ann Miles creates a versatile character, exploring both the vulnerability and strength of Imelda Marcos through her evocative and gorgeous vocalizations. Melody Butiu's lush alto instrument makes the wisdom of Estrella, the woman who raised Imelda Marcos, palpable. She also brings resounding amounts of disenchantment and biting bitterness to the character as she witnesses the missteps of Imelda along her journey.

Across the 26 tracks, there are many standout performances and tracks that become instant favorites. The title number "Here Lies Love" serves as a fantastic set up for the character of Imelda Marcos, showcasing her desire to please her people while exposing the undercurrents of her own naivety. On "The Rose of Tacloban" Ruthie Ann Miles sings with passion, giving listeners the Imelda Marcos version of "Good Night and Thank You." For "Eleven Days," Ruthie Ann Miles brings out the giddy joy of courtship. It's electronic dance beats are not what we're expecting at that moment in the score, which makes the track all the more refreshing and fun. Even if it might sound a bit too much like Alan Menken's "Colors of the Wind" at the beginning, Melody Butiu steals the show with her emotional vocals on "When She Passed By." Closing the first disc, the funky beats and strong female empowerment lyrics of "Men Will Do Anything," in addition to Maria-Christina Oliveras' nasal tonality, makes this song irresistible and wonderful.


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David Clarke David Clarke has had a lifelong love and passion for the performing arts, and has been writing about theatre both locally and nationally for years. He joined running their Houston site in early 2012 and began writing as the site's official theatre recording critic in June of 2013.

Photo by Greg Salvatori.