I have always loved Finian’s Rainbow.   I was thrilled when they decided to revive it on Broadway in 2009 following its success as part of the New York City Center “Encores.”   I assumed that I would have time to get to New York to see it, but alas, it closed early.  Fortunate for those of us caught in this situation, they did make a cast album.  The only sad part about the recording is that it makes me feel even worse that I did not get to see the production.

Finian’s Rainbow is a great chorus show.  From the opening chorus,  “This Time of the Year” to the finale of the first act, “Great Come and Get It Day” the chorus plays a very powerful role.  But beyond these two big numbers, they also play a supporting role in “If this Isn’t Love” and “Necessity,”  and “When the Idle Poor Become the Idle Rich.”  Rob Berman has rearranged many of the choral parts by added flourishes, making them brighter and bringing some of the harmonies up to date.  Berman, who is also the music supervisor, gives the entire vocal score a very “chamberish” sound.  The original orchestrations have also been modified and they too have a very “chamberish”  sound.  Of special note is the work of the wind section throughout.  I think the best example of this chamber sound  is found int he song and dance parts of  “If This Isn’t Love.”

If the chorus is great, then Kate Baldwin as Sharon and Cheyenne Jackson as Woody have to be classified as spectacular.  It is sometimes difficult to make standards sound new again, but they do it.  They both have glorious voices and their vocal technique allows the tempos to sometimes be slowed just a bit to take advantage of their ability to phrase.  “How Are Things in Glocca Mora,”  and “Look To the Rainbow,” let Baldwin display her beautiful lyric soprano voice.  In “When the Idle Poor Become the Idle Rich” she is able to add to that by displaying her  ability to articulate the tricky wording.  Cheyenne Jackson has a wonderfully lyric voice.  He is able to create the emphasis in the lyrics without having to dramatically up the volume.  His range is vast and his falsett0  (the show was first done in 1947 the use of falsetto was not then in vogue)  is lyricallybeautiful.  When they sing  the big duet, “Old Devil Moon,”  their voices blend and complement each other…..making their performance the new standard for how this duet should sound.

Terri White as Dotti  brings new life to “Necessity,”  the male quartet does great justice to “The Begat,”  and Christopher Fitzgerald is perfectly “impish” as the leprechaun Og.

Finally, though the story may have aged a bit, the integration of  gospel, country and Broadway in the music of Burton Lane, and the wit, puns,  playfulness, as well as the bite of the lyrics of Yip Harburg is certainly reaffirmed in this cast recording.

If this is a show that you know,  you can’t help but fall in love this recording and if this be your first experience with Finian’s Rainbow,  you are in for a treat.

Categories: Revival Cast Recordings
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As the Producing Director of the newly formed Lincoln Center Musical Theater (1964), Richard Rodgers decided to produce as his first production,  The King and I.  Rodgers definitely had a soft spot for operatic voices in the lead roles of his musicals, and for this production, he chose Rise Stevens.  Stevens had been one of the reigning mezzos of the Metropolitan Opera and during the previous two decades she seemed to own the role of Carmen.  For his king, Rodgers cast Darren McGavin who was primarily known as a TV and film actor. Frank Porretta and Lee Venora are Lun Tha and Tuptim and the role of Lady Thiang is performed by Patricia Neway

First, let me say that this is a beautiful recording.   Though recorded over forty years ago, this remastering shows no effects of age.  The orchestra, conducted by Franz Allers, is marvelous and adds great support to these very operatic performances.  From the opening chords of the overture, it is clear that you are in for a treat.  The orchestra sound is lush and dramatic and this kind of full orchestra is often what we miss in many of the revivals of recent vintage.  Allers makes the orchestra almost sing, and the colors that he brings out in the score are certainly the best of any recording I know.

I was first attracted to the album because I have always been a fan of Rise Stevens.  There are few recordings available of Ms. Stevens and when I saw this, I grabbed it.  I was certainly not disappointed.  Stevens is not my favorite Mrs. Anna, I am partial to the studio cast recording made by Julie Andrews, but she brings a richness that grows on you with each hearing.  Not a vowel nor a consonant is lost and, with Stevens’ great breath control, the lyrics of Oscar Hammerstein II are allowed to really shine. “Hello Young Lovers” is rich and lush, “Getting to Know You” and “Whistle A Happy Tune” are lilting and “Shall I Tell You What I Think of You” is pointed and dramatic and Mrs. Anna’s rage is quite evident.

Darren McGavin is not the King of Yul Brynner, but with the exception of parts of  “A Puzzlement,” he gives a credible performance.  There can be no doubt, however, that this musical really belongs to Mrs. Anna.  This cast and this recording were certainly an indication that Richard Rodgers wanted to return Mrs. Anna to the leading role.

“My Lord and Master”, “We Kiss in the Shadow”, “Something Wonderful” and “I Have Dreamed” are quite operatic pieces and here, Porretta, Venora and Neway do them real justice.

It is also interesting to note that “The Little House of Uncle Thomas” was not on the original recording and appeared on record for the first time on this recording.

It is hard to keep buying recordings of The King and I, but this is one that deserves to be on your shelf.

Categories: Revival Cast Recordings
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