Readers Digest Presents: The Great Musicals:

Laughter & Tears

Louise Gold starred on Disc 2, Track 2, as Reno Sweeney from Anything Goes, The Readers Digest 2005

Catalogue number: CD RDCD4991-2

 

Cast

The Alan Copeland Chorus

George Lee Andrews as H. C. Curry (from 110 In The Shade)

Shirley Banks

David Bardsley

Judy Blazer as Suzy (from Pipe Dream)

Sally Burgess as Helen Chao (from Flower Drum Song)

Clare Burt as Rizzo (from Grease)

Martin Callaghan

Mary Carewe as Shirley Sheridan (from The Cat And The Fiddle)

Marcus Allen Cooper

Ben Cramer

Gemma Craven as Sonia Walsk (from They’re Playing Our Song)

Kim Criswell – as Mrs Sally Adams (from Call Me Madam), and, Aldonza (from Man Of La Mancha)

Lorna Dallas

Jacqueline Dankworth as Charity Hope Valentine (from Sweet Charity)

Barbara Dickson as Mrs Johnson (from Blood Brothers)

Gregg Edelman as Billy Crocker (from Anything Goes)

The Foursome as The Boys Chorus (from The Most Happy Fella)

Christina Fry

Louise Gold as Reno Sweeney (from Anything Goes)

The Gordon Lorenz Singers

James Graeme as Valjean (from Les Miserables)

Stanley Grover

Alexander Hanson

Fiona Hendley as Annie Oakley (from Annie Get Your Gun), and others

Ria Jones

David Kernan

Daryll Knock

Doug LaBrecque as Marius (from Les Miserables)

Diane Langton as Mrs Blitztein (from Blitz!)

Emily Losser as Rosabella (from The Most Happy Fella)

Ian Lynn as Herbie (from Gypsy)

Valerie Masterson as The Marchioness of Shayne (Sarah Millick/Sari Linden) (from Bitter Sweet)

The Michael Westlake Singers

Anthony Newley as Fagin (from Oliver!)

Sheila Parker as Louise Hovick/Gypsy Rose Lee (from Gypsy)

Sheryl Parker as Mama Rose (from Gypsy)

Catherine Porter as Sunny Peters (from Sunny)

Ron Raines as Gabey (from On The Town)

Roger Rees as Alfie (from A Man Of No Importance)

Liz Robertson

Randy Rogel – as Cosmo Brown (from Singin’ In The Rain)

Summer Rognlie

David Sandler

Martin Smith – as Carl Linden (from Bitter Sweet)

Issy Van Randwyck as Sheila (from Hair)

Elisabeth Welch as Shirley (from The Cat And The Fiddle), and, Adeline (from Sweet Adeline), and others

Karen Ziemba as Lizzie Curry (from 110 In The Shade)

 

Production Team

 Produced by – The Readers Digest, 2005

Conductors  - Richard Balcombe, Craig Barna, Bruce Baxter, Bob Berman, Stephen Brooker, Alan Copeland, Matthew Freeman, Douglas Gamley, Grant Hossack, Gordon Langford, John Owen Edwards, Michael Reed, Roland Shaw, Wally Stott, Chris Walker, Martin Yates

Orchestras –  The Alan Copeland Orchestra, The Douglas Gamley Orchestra, The National Symphony Orchestra, The New Sadler’s Wells Orchestra, The Wally Stott Orchestra

Compilation Created By  - Andrew Humphries

Assistant Editor – Daniel Sankey

Technical Manager – Jon Archer

Print And Production By – Claudette Bramble, and, Richard Pankhurst

Booklet Notes By – Stephen Barnard – The Write Line

Copy Edited By – Richard Lutterloch

Designed By – Andrew Briffett

Studio Designer – Pauline Austin

Picture Credits – Arena Pictures

 

Track Listing

Programme 1

1. Make ‘Em Laugh (from Singin’ In The Rain) – Randy Rogel, with The National Symphony Orchestra conducted by Craig Barna

2. Something To Dance About (from Call Me Madam) – Kim Criswell, with The National Symphony Orchestra conducted by Richard Balcombe

3. Smoke Gets In Your Eyes (from Roberta) – Lorna Dallas, with The National Symphony Orchestra conducted by Martin Yates

4. Who? (from Sunny) – Alexander Hanson, and, Catherine Porter, with The National Symphony Orchestra conducted by Martin Yates

5. Try To Forget (from The Cat And The Fiddle) – Elisabeth Welch, with orchestra conducted by Gordon Langford

6. What Does He Want Of Me? (from Man Of La Mancha) – Kim Criswell, with The National Symphony Orchestra conducted by John Owen Edwards

7. Where Am I Going? (from Sweet Charity) – Jacqueline Dankworth, with The National Symphony Orchestra conducted by Martin Yates

8. Bring Him Home (from Les Miserables) – James Graeme, with The National Symphony Orchestra conducted by John Owen Edwards

9. Love Who You Love (from A Man Of No Importance) – Roger Rees, with orchestra conducted by Rob Berman

10. The Touch Of Your Hand (from Roberta)- Daryll Knock, and The National Symphony Orchestra conducted by Martin Yates

11. Empty Chairs At Empty Tables (from Les Miserables) – Doug LeBrecque, with The National Symphony Orchestra conducted by Martin Yates

12. Lonely Town (from On The Town) – Ron Raines, with The National Symphony Orchestra conducted by John Owen Edwards

13. Everybody’s Got A Home But Me (from Pipe Dream) – Judy Blazer, with The National Symphony Orchestra conducted by Craig Barna

14. Who’s This Geezer Hitler? (from Blitz!) – Diane Langton, and Chorus, with The National Symphony Orchestra conducted by Martin Yates

15. Old Maid (from 110 In The Shade) – Karen Ziemba, and, George Lee Andrews, with The NSO Ensemble conducted by John Owen Edwards

16. Love Look Away (from Flower Drum Song) – Sally Burgess, with The National Symphony Orchestra conducted by Craig Barna

17. Somebody Somewhere (from The Most Happy Fella) – Emily Losser, with The National Symphony Orchestra conducted by John Owen Edwards

18. I’d Rather Dance Alone (from Personals) – David Bardsley, Martin Callaghan, Marcus Allen Cooper, Christina Fry, Ria Jones, and, Summer Rognlie, with orchestra conducted by Matthew Freeman

19. There Are Worse Things I Could Do (from Grease) – Clare Burt, with The NSO Ensemble conducted by Martin Yates

20. Easy To Be Hard (from Hair) – Issy Van Randwyck, with The NSO Ensemble conducted by Stephen Brooker

21. I Still Believe In Love (from They’re Playing Our Song) – Gemma Craven, with orchestra conducted by Grant Hossack

22. Old Friend (from I’m Getting My Act Together And Taking It On The Road) – Liz Robertson, with Orchestra conducted by Chris Walker

 

Programme 2

1. Pick A Pocket Or Two (from Oliver!) – Anthony Newley

2. You’re The Top (from Anything Goes) – Gregg Edelman, and, Louise Gold, with The National Symphony Orchestra conducted by John Owen Edwards

3. Together Wherever We Go (from Gypsy) – Sheryl Parker, Sheila Parker, and, Ian Lynn, with orchestra conducted by Bruce Baxter

4. Standing On The Corner (from The Most Happy Fella) – The Foursome, with orchestra conducted by Roland Shaw

5. She Didn’t Say ‘Yes’ (from The Cat And The Fiddle) – Mary Carewe, with Douglas Gamley and his orchestra

6. September In The Rain (from Melody For Two) – The Alan Copeland Chorus and Orchestra

7. I’ll See You Again (from Bitter Sweet) – Valerie Masterson, and, Martin Smith, with The New Sadler’s Wells Orchestra conducted by Michael Reed

8. I Guess I’ll Have To Change My Plan (from The Band Wagon) – Stanley Grover, with Wally Stott and his Orchestra

9. Let’s Begin (from Roberta) – Lorna Dallas. with The National Symphony Orchestra conducted by Martin Yates

10. Why Was I Born? (from Sweet Adeline) – Elisabeth Welch and orchestra conducted by Gordon Langford

11. Don’t Ever Leave Me (from Sweet Adeline) – Elisabeth Welch and orchestra conducted by Gordon Langford

12. Leaning On A Lamppost (from Me And My Girl) – David Kernan

13. Can I Forget You? (from High, Wide And Handsome) – Elisabeth Welsch and orchestra conducted by Gordon Langford

14. Doin’ What Comes Natur’lly (from Annie Get Your Gun) – Fiona Hendley

15. The Last Man In My Life (from Song And Dance) – Shirley Banks

16. Take That Look Off Your Face (from Song And Dance) – Fiona Hendley

17. Tell Me It’s Not True (from Blood Brothers) – Barbara Dickson and Company

18. A Boy From Nowhere (from Matador) – Ben Cramer

19. The Last Supper (from Jesus Christ Superstar) – The Michael Westlake Singers

20. Manchester, England (from Hair) – The Gordon Lorenz Singers

21. One More Angel In Heaven (from Joseph And The Amazing Technicolor Dreamcoat) – David Sandler, with The Michael Westlake Singers

 

 

The song There Are Worse Things I Could Do is actually credited on the album sleeve notes as There Are Worse Things I Can Do.

The track You’re The Top on this album is from the JAY/TER recording of Anything Goes (recording) – Website Recommended Album on which... this also features The National Symphony Orchestra conducted by John Owen Edwards.

Sally Burgess, Gregg Edelman, Louise Gold, Darryl Knock, Diane Langton, Liz Robertson, Issy Van Randwyck, and, Elizabeth Welch’s recording credits include Cole Porter – Night And Day. This also involved The National Symphony Orchestra; with maestros John Owen Edwards, Chris Walker, and, Martin Yates. This was also produced by The Readers Digest. This includes the same recording of You’re The Top.

Clare Burt, Marcus Allen Cooper, Jacqueline Dankworth, Gregg Edelman, and, Louise Gold’s recording credits include Cabaret. This also features The National Symphony Orchestra conducted by John Owen Edwards.

Clare Burt, Kim Criswell, James Graeme, Valerie Masterson, and, Issy Van Randwyck’s recording credits include Encore The Very Best From The Musicals. This also involved The National Symphony Orchestra; with maestros Craig Barna, John Owen Edwards, and, Martin Yates. This includes the same recording of There Are Worse Things I Could Do.

Clare Burt, Kim Criswell, Gregg Edelman, James Graeme, Doug Labrecque, Emily Losser, Catherine Porter, and, Randy Rogel’s recording credits include Simply Musicals. This also involved The National Symphony Orchestra; with maestros Craig Barna, John Owen Edwards, and, Martin Yates.

Clare Burt, Mary Carewe, Gemma Craven, Kim Criswell, Lorna Dallas, Barbara Dickson, The Gordon Lorenz Singers, Stanley Grover, Fiona Hendley, Darryl Knock, Ian Lynn, The Michael Westlake Singers, and, Sheila Parker’s recording credits include The Greatest Musicals Of The 20th Century. This also involved The National Symphony Orchestra, and, The Wally Stott Orchestra; with maestros Bruce Baxter, Matthew Freeman, Douglas Gamley, Gordon Langford, John Owen Edwards, Roland Shaw, Wally Stott, and, Martin Yates. This was also produced by The Readers Digest.

Clare Burt appeared in A Love Letter To Dan, for which Michael Reed played the piano.

Clare Burt, Jacqueline Dankworth, and, Valerie Masterson’s recording credits include Centre Stage Showtime! This also involved The National Symphony Orchestra; with the maestros John Owen Edwards, and, Martin Yates.

Mary Carewe, James Graeme, David Kernan, Diane Langton, and, Liz Robertson appeared in Chicago & Company.

Mary Carewe, Lorna Dallas, James Graeme, David Kernan, and, Martin Smith appeared in Broadway To Brighton.

Mary Carewe, David Kernan, Liz Robertson, Martin Smith, and, Elizabeth Welch appeared in A Time To Start Living, which James Graeme may have appeared in.

Mary Carewe, Ben Cramer, Lorna Dallas, Stanley Grover, Alexander Hanson, Doug LaBrecque, Emily Losser, Catherine Porter, Ron Raines, and, Elizabeth Welch’s recording credits include The Great Musicals - Dashing Heroes, Blushing Maidens. This also involved The National Symphony Orchestra; with maestros Richard Balcombe, Matthew Freeman, Gordon Langford, John Owen Edwards, and, Martin Yates. This was also produced by The Readers Digest, and production team members: Andrew Humphries, Daniel Sankey, Jon Archer, Claudette Bramble, Stephen Barnard of The Write Line, Richard Lutterloch, Andrew Briffett, Pauline Austin, and, Arena Pictures were also involved.

Ben Cramer, Kim Criswell, The Gordon Lorenz Singers, James Graeme, Diane Langton, Ian Lynn, Valerie Masterson, and, Martin Smith’s recording credits include The Great Musicals – Wonderful Tales. This also involved The National Symphony Orchestra, and, The New Sadler’s Wells Orchestra; with maestros Richard Balcombe, John Owen Edwards, Michael Reed, and, Martin Yates. This was also produced by The Readers Digest, and production team members: Andrew Humphries, Daniel Sankey, Jon Archer, Claudette Bramble, Stephen Barnard of The Write Line, Andrew Briffett, Pauline Austin, and, Arena Pictures were also involved.

Kim Criswell, Gregg Edelman, and, Valerie Masterson’s recording credits include On The Town. This also featured The National Symphony Orchestra conducted by John Owen Edwards.

Kim Criswell appeared in Gentlemen Prefer Blondes. Her radio credits include Let ‘Em Eat Cake.

Kim Criswell, Valerie Masterson, Catherine Porter, and, Ron Raines’s recording credits include The History Of The Musical. This also involved The National Symphony Orchestra; with maestros Craig Barna, John Owen Edwards, and, Martin Yates.

Kim Criswell, Lorna Dallas, The Gordon Lorenz Singers, Stanley Grover, Valerie Masterson, and, Martin Smith’s recording credits include The Great Musicals – Glamour And Majesty. This also involved The National Symphony Orchestra, and, The New Sadler’s Wells Orchestra; with maestros Richard Balcombe, Craig Barna, John Owen Edwards, Michael Reed, and, Martin Yates. This was also produced by The Readers Digest, and production team members Andrew Humphries, Daniel Sankey, Jon Archer, Claudette Bramble, Richard Pankhurst, Stephen Barnard of The Write Line, Richard Lutterloch, Andrew Briffett, Pauline Austin, and, Arena Pictures were also involved. This included the same recording of I’ll See You Again.

Lorna Dallas, Diane Langton, and, Liz Robertson appeared in The Royal Variety Performance (1982).

Lorna Dallas, David Kernan, and, Martin Smith appeared in Kids At Heart, which Elizabeth Welch may have appeared in.

Lorna Dallas was a guest on Let’s Do The Show Right Here.

Lorna Dallas, David Kernan, and, Liz Robertson appeared in the Side By Side By Sondheim 25th Anniversary Gala.

Lorna Dallas, and, Liz Robertson appeared in Happily Ever After, and, CLIC’s 18th Birthday Celebration.

Jacqueline Dankworth appeared in Merrily We Roll Along (Stage Production), and on that production’s album Merrily We Roll Along (Recording).

Gregg Edelman, Louise Gold, Alexander Hanson, Emily Losser, Valerie Masterson, and, Catherine Porter’s recoding credits include Great Duets From The Musicals. This also involved The National Symphony Orchestra, and, The New Sadler’s Wells Orchestra; with the maestros John Owen Edwards, Michael Reed, and, Martin Yates. This album includes the same recordings of You’re The Top, and, I’ll See You Again.

David Kernan, and, Liz Robertson appeared in Will-Aid, Side By Side By Sondheim, the Side By Side By Sondheim 30th Anniversary Gala, and in The Radio 2 Arts Programme Chichester Festival 1994.

David Kernan’s radio credits include Sondheim At The Barbican; where the orchestra was conducted by Michael Reed.

David Kernan, and, Liz Robertson appeared in Noel/Cole: Let’s Do It, and on that production’s album Noel/Cole: Let’s Do It (Recording). Matthew Freeman also worked on both the show and the album.

David Kernan, Diane Langton, and, Martin Smith appeared in Comedy Tonight.

Diane Langton appeared in Follies. Her recording credits include Defiant Dames.

Valerie Masterson’s recording credits include The Best Of Broadway Musicals. This also involved The National Symphony Orchestra; with maestros Craig Barna, John Owen Edwards, and, Martin Yates.

The National Symphony Orchestra conducted by Martin Yates’s recording credits include for Stop The World I Want To Get Off, for which Anthony Newley has written lyrics.

Liz Robertson, and, Issy Van Randwyck appeared in the Regent’s Park 70th Anniversary Gala, and took part in Shopping With The Stars 2008.

Martin Smith, as well as Louise Gold had appeared in The Metropolitan Mikado, and in a concert of highlights from the Ratepayer’s Iolanthe & Metropolitan Mikado. Both of which were conducted by John Owen Edwards.

Issy Van Randwyck appeared in Love Life, By Jupiter, Kiss Me Kate, Hot ‘n’ Spicy 2, and at Dress Circle Grand Reopening.

Richard Balcombe has conducted The Gondoliers.

Gordon Langford played the piano at Hubert Gregg’s Memorial Service.

Michael Reed conducted Ziegfeld (Stage Show), and on it’s album Ziegfeld (Recording).

Chris Walker did orchestrations for Chitty Chitty Bang Bang.

Martin Yates has written the score for his own musical The Soap Opera.

Diane Langton appeared in Mary Poppins, for which Stephan Brooker was Musical Supervisor.

Clare Burt, Kim Criswell, Jacqueline Dankworth, James Graeme, Doug LaBreque, Valerie Masterson, and, Ron Raines’s recording credits include Magic Of The Musicals; This also involved the National Symphony Orchestra; with maestros Craig Barna, John Owen Edwards, Chris Walker, and, Martin Yates. It also included the same recording of There Are Worse Things I Could Do.

Kim Criswell, James Graeme, Doug LaBreque, and, Ron Raines’s recording credits include The Best Of The Musicals, this also involved the National Symphony Orchestra / NSO Ensemble, with maestros Craig Barna, John Owen Edwards, and, Martin Yates.

Clare Burt, Jacqueline Dankworth, David Kernan, and, Alexander Hanson may have taken part in Thing A Thon.

Alexander Hanson, and, Liz Robertson went on to take part in Shopping With The Stars 2009.

Kim Criswell, Jacqueline Dankworth, Gregg Edelman, James Graeme, Fiona Hendley, Diane Langton, Valerie Masterson, Ron Raines, Issy Van Randwyck, Elisabeth Welch, and, Karen Ziemba can also be heard on 100 Hits Musicals; accompanied by The National Symphony Orchestra, with maestros Craig Barna, Stephen Brooker, John Owen Edwards, and, Martin Yates.

Clare Burt, Jacqueline Dankworth, and, Valerie Masterson can also be heard on Let’s Go On With The Show – Hit Songs From The West End & Broadway; accompanied by The National Symphony Orchestra, with maestro John Owen Edwards.

Clare Burt, Mary Carewe, Gemma Craven, Kim Criswell, Lorna Dallas, Jacqueline Dankworth, Barbara Dickson, Gregg Edelman, The Gordon Lorenz Singers, David Kernan, Doug LaBrecque, Diane Langton, Anthony Newley, and, Elisabeth Welch’s recording credits include The Great Musicals - From Broadway to Hollywood; This also involved The National Symphony Orchestra, with maestros Craig Barna, John Owen Edwards, and, Martin Yates. This album includes the same version of Leaning On A Lampost.

Stephen Brooker went on to work on Oliver!. And on the album Oliver! (Recording).

 

Review

by Emma Shane, 6 November 2007

This is another of those very mixed bunch Readers Digest compilations pulled out of the JAY/TER back catalogue. As usual it has some very interesting interpretations or well known songs, some fine performances, and some rather less good ones. Some of the songs are well known, some comparatively little known. The more I listen to this particular series of compilations there more I wonder at the advisability of the title choices. This particular album is characteristic of the problem, do a mixture of laughter and tears actually sit well together? Sometimes the laughter numbers are so upbeat and energetic that following them with a tears number could have the danger that people aren’t going to pay the latter much attention. An example of this is Lorna Dallas’s performance of Smoke Gets In Your Eyes coming right after Kim Criswell’s showstopping Something To Dance About.

The album gets off to a rousing start Make ‘Em Laugh, during which Randy Rogel proves himself to be a worthy successor to Donald O’Connor, and incidentally his diction is very good. This is followed by something even better, Kim Criswell’s Something To Dance About. Although I think The International Rag is even better, it’s always a joy to hear Kim sing Irving Berlin, especially Irving Berlin numbers associated with Ethel Merman. Lorna Dallas, while doing a passably decent Smoke Gets In Your Eyes just can’t quite follow on from that. To be honest if this had to be followed by Smoke Gets In Yours Eyes, I think only Kathryn Grayson’s rendition could have done it. Back to the laughter, Alexander Hanson and Catherine Porter also manage a reasonable job with Who? But they don’t quite make it their own in the way that Judy Garland did in the MGM film; and I couldn’t forget the very funny Muppet version originally sung on television allegedly by Abby Hadfield (and later recorded by Louise Gold).

After a number of passable background music, but nothing sensational numbers, it’s Kim Criswell who ups the standard of performance, with her version of What Does He Want Of Me? which proves to be just the kind of performance we want to hear (never mind whatever  Mitch Leigh things about having redheads in this role). This is followed by a surprising performance of Where Am I Going? in which Jacqueline Dankworth manages to turn in a performance of Charity Hope Valentine that is all her own, quite different to Gwen Verdon or Shirley Maclaine, vocally, however, there is a distinct uncanny resemblance to a certain legendary jazz singer. After that display of skill, James Graeme’s Bring Him Home is something of a come down. There is nothing actually wrong with it, but Bournbill and Schonberg seems to be difficult to sing with much melody, and very few singers can really make it accessible to people who aren’t too keen on Bournbill and Schonberg. Howard Keel for example could put this song across very effectively. But James Graeme isn’t bad, and I’m sure for those who do like Borunbill And Schonberg it was probably fine.

Daryll Knock’s Touch Of Your Hand doesn’t work too brilliantly, mainly because he just isn’t quite a strong enough singer, the song needs someone like, Howard Keel, Ivor Emmanual, Jason Howard or Hugh Jackman to do it effectively. Meanwhile Doug LaBreque’s Empty Chairs At Empty Tables is again fine for the Borunbill and Schonberg fans, but doesn’t really sell it to anyone else, but could anyone sell that song to people who aren’t keen on that kind of music? Similarly Ron Raines does a reasonable job with Lonely Town. Not all the songs on this album are well known, some are quite forgotten. A new one to me was Everybody’s Got A Home But Me. This lively number, given a delightful performance by Judy Blazer, is instantly recognisable as Rogers And Hammerstein, and surely deserves to be better known. Another new one was Who’s This Geezer Hitler? As soon as I heard it, I knew, just knew it had to be Lionel Bart. It’s rather jolly and upbeat, and well very entertaining, sung with a good deal of enthusiasm. It’s only flaw is poor diction. Diane Langton is one of those performers (Louise Gold is another, although not quite to the same extent)) whose diction is apt to go AWOL at inconvenient times, it’s probably due to tiredness, and can slightly mar an otherwise fine recording. 110 In The Shade has been something of a forgotten show. I felt that Karen Ziemba’s performance of Old Maid was a little lacking in passion, and possibly power, although her diction was clear. However, my criticism of this is probably more due to having seen a truly unforgettably sensational performance of this number at The Fortune Theatre in 1999, where it was sung with so much vocal power and passion I don’t think any version could quite compare to that tour de force. Sally Burgess’s Love Look Away is satisfactory, if a little dull. While Somebody Somewhere from Most Happy Fella is given what must surely be a standard setting performance, by it’s composer’s daughter who seems to be becoming, perhaps not surprisingly, very much  the interpreter of Frank Losser’s work. I’d Rather Dance Alone from Personals sounds remarkably like it could have been written by Andrew Lloyd-Webber, even though it wasn’t. Clare Burt comes up trumps for sincerity with There Are Worse Things I Can Do. Ever reliable Issy Van Randwyck manages to make something of Easy To Be Hard. Gemma Craven contrives a passable version of I Still Believe In Love, however, I think there are performers who could do a better job with this style of song. One such, surprisingly is found on the next track, namely Liz Robertson. Hitherto, I think one tends to associate Liz Robertson with songs by Jerome Kern, Cole Porter, Stephen Sondheim, and of course Lerner & Lowe. One doesn’t usually associate her so much with such songwriters as say Hamlish & Bayer-Sager, or Ulvaelus & Andersson; yet having heard what she has done with Ford & Cryer’s Old Friend perhaps people should consider what she could do with other songs in a similar style, she’d make a fine rock chick.

Anthony Newley’s performance of You’ve Got To Pick A Pocket Or Two seems a little camped up, although that could be just the effect of being used to hearing Ron Moody. It is perhaps sort of appropriate to have a Bart classic followed immediately by the loud distinctive voice of a lady who just happens to be the daughter of two of Bart’s Unity Theatre colleagues. With that mazilk of a muppet, Louise Gold to sing it (along with Gregg Edelman) You’re The Top is full of laughter. There is the rather odd juxtaposition of following it with Together Wherever We Go. This doesn’t work too well. Sheryl Parker isn’t so much of a belter, (well not in the league of Louise Gold and Kim Criswell), and this number was originally written for Ethel Merman. The version of it done here is rather removed from that, which is a wise thing to do if you have anything less than a major vocal powerhouse singing it. But putting it immediately after Louise Gold doing a Merman number does rather show it up. The Foursome have rather more success with Frank Losser’s Novello-style effort the catchy Standing On The Corner. A lovely song, although I can’t quite get the delightful memory of Gavin Creel & co’s late night version of it out of my mind. Mary Carewe scores a true triumph with She Didn’t Say Yes. Carewe may not be quite as powerful as Criswell and Gold, but nevertheless she’s a pretty decent belter.

After a bunch of pleasant background, but not particularly outstanding numbers, David Kernan’s Leaning On A Lamppost is refreshingly different to anyone else’s version that classic song.

Fiona Hendly’s Doin’ What Comes Nat’urally doesn’t seem all that natural. Of course using the tamer ‘film’ or broadcast lyrics doesn’t help (as only Judy Garland really managed to put that version across well). But then once you’ve heard Kim Criswell sing that song, it’s hard to be satisfied by anyone else’s version of it. Fiona Hendly does a better job with Take That Look Off Your Face, so perhaps she is better suited to more pop-like musical theatre numbers, rather than popular. Barbara Dickson does a pretty magnificent Tell Me It’s Not True, which really opened my eyes to just how good that song actually is (I only wish someone could get Louise Plowright to sing this, because I think it could really suit her voice).

Another surprising number, which I wasn’t familiar with is Manchester, England. It is one of Galt McDermot’s more tuneful pieces. In fact it really is rather a decent tune, for a rock musical. Finally the album ends with more tears, a fairly convention version of One More Angel In Heaven, hear clearly sounding like a recognisably Andrew Lloyd-Webber piece (as opposed to the time Jason Carr managed to arrange it so that it sounded like it was Adam Guettel!)

There are certainly some reasonably well known songs on this album which I felt they could have tried to find a better performance of. Some songs I wasn’t familiar with and am glad to have heard. By and large the usual sort of Readers Digest mixture. Mostly pleasant background music, with a few numbers that are something more, and two absolute highlights, namely Kim Criwell and Louise Gold at their Mermanesque best.

 

Critics Comments

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Links about The Great Musicals: Laughter And Tears

 

 

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