As I get more excited for the revival (I've got tickets to the 3rd preview!), I'm wondering what everyone's previous cast recording is?
Personally, I'm partial to the 1995 Cast with Boyd Gaines, Debra Monk & Jane Krakowski - a production that I regret not seeing when I had the chance to do so.
My favorite cast recording is probably the original, followed closely by 2006 revival starring Raúl Esparza (minus alll the dialogue - this is one cast recording where I genuinely don't like the dialogue).
Caption: Every so often there was a rare moment of perfect balance when I soared above him.
For sure the Original. I do like some of the revised notes(chords?) in the 2018 London production though. Some songs like the opening feel a little more pleasing to hear than the original(@ Elaine Stritch).
I agree with the "Oh, please" above. The original, of course.
Nobody comes near Dean Jones' pain as Bobby. Nobody touches Pam Myers as Marta.
I do, however, like the latest arrangement of "You Could Drive..." for a male trio and I love the fact that Patti LuPone noticed "Ladies Who Lunch" has a Latin beat!
Absolutely nothing will come close to the original. Tunick's reductions of his own work heard on the 95 and 96 recordings are disappointing, although I love the pop sounding ending of Adrian Lester's "Being Alive."
I enjoy the 2006 recording for Raul, and I've always found the complete re-orchestration of the title song to be fascinating.
I enjoy the 2018 London recording because I find Cullen's orchestrations better than Tunick's reductions (95 and 96) and I like how he came up with with some new ideas while maintaining the original spirit and sound of the score.
The 2006 revival is pretty much go to for me. I love Raul’s performance and generally appreciate the less broad performance style, although the original probably had better orchestrations.
CATSNYrevival said: "ljay889 said: "Can't wait for the new Broadway recording!"
Has that been officially announced?"
Not yet, but I strongly doubt the production will sell an album with Rosalie’s face on it and Patti being the only repeat cast member to represent this major revival.
I think the original recording is the only one that does the score justice. The 1995 recording barely registered for me and the 2006 one with Raul Esparza is as flaccid as the production was.
Agee. Partly it's the full orchestrations and also the pit singers, which give a weight to the sound that revivals don't have. Wish they'd make the London version with Larry Kurt tracked in completely available. You can hear his "Being Alive" as a bonus track, but it would be nice to hear all of it. I don't expect he will compare to Dean Jones--he doesn't seem to catch Jones's torment in the part--but he has a gorgeous voice.
joevitus said: "Agee. Partly it's the full orchestrations and also the pit singers, which give a weight to the sound that revivals don't have. Wish they'd make the London version with Larry Kurt tracked in completely available. You can hear his "Being Alive" as a bonus track, but it would be nice to hear all of it. I don't expect he will compare to Dean Jones--he doesn't seem to catch Jones's torment in the part--but he has a gorgeous voice.
"
joe, I studied opera history under composer Jack Beeson (CAPTAIN JINKS OF THE HORSE MARINES, LIZZIE BORDEN, et al.) and he once spoke of the problem when Yma Sumac appeared in roles such as Aida: her range was so large, there wasn't the same tension on the high notes (which are written where they are to provide that tension) because you knew she had another octave or more in her throat. When Maria Callas sang the same roles, one didn't know whether for sure that she could get to the top notes and that only increased the drama of the performance.
COMPANY was the first Broadway show I saw as a teen and Larry Kert had been playing Bobby for almost a year. I wouldn't hear Beeson's lecture for another 10 years, but even as a kid I could tell that Larry--as gorgeous as his voice was--sang the role without the same effort as Dean Jones. Today, I still feel like maybe Jones won't actually get through "Being Alive" when I play the recording.
(FWIW and not to speak ill of the dead, I later worked with Larry and he had no problem tackling keys that were demanding for him. His "Serenade" (from THE STUDENT PRINCE) had me on the edge of my seat! But Bobby's keys were relatively easy for him. He sounded great singing over Tunick's orchestrations, but I never thought Bobby, the character, was in serious trouble.)
Original and Revival are wonderful and my faves for different reasons.
I loved the Raul revival. Loved loved loved it. I sobbed hysterically at the end of Being Alive.
It also doesn’t recognition for putting the show squarely in an almost anachronistic cyberspace. Not quite modern not completely set in the past. It felt both fresh and dated at the same time
Nothing compares to the OBC recording. And I LOVED the '06 revival. If only I was alive to see the original cast.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
Thanks, Gaveston! Your comments about the professor reminds me of your comment about Prince liking actresses for Evita who were not quite as secure in the notes so as to create a certain amount of tension in performance. The point of view makes quite a bit of sense.
The original Company is beautifully of its time: you don't hear openly and unapologetically middle-aged or even unapologetically Jewish-American voices anymore. There's a whiskey-and-cigarettes "stoutness" to the sound of the men, and a very New York, probably started in the chorus line sound to the women's voices. Barreling ahead, just barely on key some of them, but in the most endearing way: listen to the way Elaine Stritch never even tries to land the intervals on "telephone calls," and just shouts out the word "TELEPHONE!"
I'm also fond of the 2006: it's neurotic, chilly, sophisticated and quirky in a totally different way. It's like the difference between a Mike Nichols production and a Wes Anderson production.