Amanda Prahl - Page 6

The cast recording for this revival of Oklahoma is unusual, unexpected, and, occasionally, shocking, giving modern audiences an analogue for how the original shocked audiences in 1943.

As any Broadway theater-goer knows, jukebox bio-musicals are surprisingly difficult to pull off well. Stringing together hit songs in a way that serves a story, while also dealing with all the real-life egos involved, often involves sacrificing musical or dramatic integrity. It's even more surprising, then, that one of the best recent bio-musicals isn't even a Broadway show: it's Rocketman, the musical movie about the early life and career of Sir Elton John. By giving itself permission to be a musical first, the movie's soundtrack manages to capture the iconic musician's sound without giving up on a satisfying dramatic arc.

the latest revival of My Fair Lady proved that they're all for breaking traditions, and this is just the latest one: releasing an EP with Laura Benanti. It's a treat to hear another of modern Broadway's top leading ladies tackle this iconic role.

It's another op'nin' of another version of Kiss Me, Kate, the iconic Cole Porter musical that adds a sassy, meta-theatrical, mid-century twist to Shakespeare's battle of the sexes The Taming of the Shrew. With an all-star cast, the cast recording of Roundabout's latest revival has little in the way of surprise or novelty, but plenty of talent along the way.

At the 73rd annual Tony Awards, the best and brightest of the Broadway season was on full display. The show featured performances from the season's shows, plus a slew of powerful wins and speeches. I spent the night watching the broadcast closely to put together a comprehensive recap and review - ahead, check out some of the most talked-about moments of the night!

The soundtrack for the live-action remake of Aladdin manages to tweak the classic score just enough to not sound like a pale imitation while keeping the core of the magic that's made it one of the most enduring scores of its generation.

The onslaught of jukebox musicals doesn't seem to be ending anytime soon, which, in turn, means that there are an awful lot of cast albums that also double as very well-sung cover albums. That's definitely the case with the original cast recording of The Cher Show, which functions okay as a cast album but mostly rides on its cast's considerable talent and the sheer joy of Cher's catalog.

Origin stories are a weird thing, and nowhere on Broadway right now is there an odder origin story than Be More Chill. For star Stephanie Hsu, it started with a fake lemonade ad skit in the third grade.

Previously a folk singer-songwriter, Anais Mitchell is blazing new ground on Broadway this season, both with her unique jazz-folk interpretation of classical Greek mythology and as the first woman in over a decade to be solely responsible for the book, music, and lyrics of a Broadway musical.

With his new album Call Me Old-Fashioned, Tony nominee Max von Essen proves that he's found the perfect balance between modern Broadway star and golden age elegance.

Reviewing the cast album for Ain't Too Proud, the new bio-musical tracing the origins of the Motown vocal group the Temptations, is an unusually tricky task. How does one really review music that has been iconic in the pop lexicon for half a century? For the most part, the original cast recording is a mixture of straightforward covers, interspersed with bits of dialogue so that it doesn't appear just as a cover album. Thanks to a ridiculously talented cast, it pretty much succeeds.

With his new album Coming Home to You, Michael Ball expands his reach with a sound that's part country, part easy listening pop. It's an admirable effort, but one that sometimes falls flat.

Musical theatre is the land of collaboration, and anyone who's ever tried to write a musical knows that it can be a land filled with landmines. But for the ladies of the new musical Marie, Dancing Still, their collaboration seemed downright fated.

The newly released West End cast recording of Heathers includes all the fan-favorite songs from the original version, as well as a few new additions. For longtime fans, it's a welcome treat to have an updated version, but it's unlikely to win over longtime skeptics.

It is a truth universally acknowledged that there can never be enough Jane Austen adaptations - at least not for Austenites like me. Coincidentally, the theatre world is newly home to not one, but two works based on Austen's masterpiece Emma: Paul Gordon's musical adaptation, a regional staple for years, has finally received a cast recording.

In 2010, the musical comedy Band Geeks premiered at Goodspeed, and now, almost nine years later, its score is finally available for listening. The EP of Band Geeks features seven of Mark Allen, Gaby Alter, and Tommy Newman's catchy songs. While it's very clearly a product of its time - that late 2000s/early-Glee era pop sound - every song is funny and earnest with charm to spare.

There are few things as difficult as penning a follow-up to a beloved classic. That's the challenge that faced the writers of Disney's Mary Poppins Returns, the next-generation sequel to the iconic 1964 film. Fortunately for us all, veteran songwriters Marc Shaiman and Scott Wittman were more than up to the task, creating a score that seamlessly blends in with our favorite songs of old while producing some new magical moments of its own.

When it comes to sweeping, grand romances, the musicals from the 'golden age' of the mid-20th century can't be beat - including Brigadoon, which most recently received a production at New York City Center in 2017. Starring Kelli O'Hara and Patrick Wilson, the cast album is a lush rendering of the magical musical set in the mists of the Scottish Highlands.

The intersection of Broadway/opera and sacred music seems like a natural fit. Both are often larger than life, both speak to a very specific message, and both use a wide range of instrumentation and vocals. On Sarah Brightman's new album, Hymn, she combines the two genres to mixed effect. While the more traditional sounds are lovely and suit her voice well, the contemporary songs tend to be overwrought.

Since its inception in 2015, the Broadway Princess Party concert series has gone from a cute one-time show to a fan favorite at Feinstein's/54 Below to a nationwide tour complete with a full-fledged merchandise line. Now, they're expanding the brand once again, with the Broadway Princess Holiday Party, touring through California, Arizona, Pennsylvania, and New York this December. It's a new twist on a concept that's won hearts for its sometimes-winking but genuine and heartfelt embrace of nostalgia, optimism, and girl power.