Little Women The Musical (2005 Original Broadway Cast)
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CD Details
Performer: Jason HowlandPerformer: Andrew Wilder
Performer: Little Women Pit Orchestra
Performer: Amy McAlexander
Performer: Danny Gurwin
Performer: Janet Carroll
Edition: Music CD
Format: Cast Recording
CD Release Date: 2005-05-03
Music Label: Ghostlight Records
Soundtracks:
- Overture
- An Operatic Tragedy
- Better
- Our Finest Dreams
- Here Alone
- Could You?
- I'd Be Delighted
- Take A Chance On Me
- Off To Massachusetts
- Five Forever
- More Than I Am
- Astonishing
- The Weekly Volcano Press
- How I Am
- Some Things Are Meant TO Be
- The Most Amazing Thing
- Days Of Plenty
- The Fire Within Me
- Small Umbrella In The Rain
- Sometimes When You Dream (Reprise)
Music reviews of Little Women The Musical (2005 Original Broadway Cast)
Music Review: Shocking.
Rating: 2 Stars
Maybe it's because I'm a fan of the original book, but I found this CD absolutely shocking.
From listening to the CD and reading the synopsis included in the booklet, I get the impression that these writers have never even read the book. Instead, they must have seen the movies years ago and then sat down to type out what they remembered. The story has been gutted and the characters have been gang-raped. It is just a MESS.
First of all, the music is jaw-dropping in its insipidness. There are only about five character songs in the whole show (out of 20 tracks), and two of those are Marmee's and the other three are Jo's. The only truly GOOD song on the CD is one called "Days of Plenty" that Marmee sings to Jo after Beth dies. It's about how Beth will always live in Jo's heart, and that she can channel her sorrow into something creative that will honor Beth. It is a gorgeous song, and I've found myself listening to that track over and over again ever since I bought the CD.
The others, however, are mostly blugh. First of all, the characters have all become hideous cartoon caricatures, so the idea of them actually singing anything meaningful is ludicrous. You know how Beth and Mr. Laurence meet? He hears her singing and playing the piano, then he sits down and THEY SING A DUET. Anyone who knows the story and the characters knows that Beth would NEVER have sat down with a strange, scary old man to sing a song together. You know how Amy and Laurie fall in love? Well, it doesn't actually show it happening, but they come and sing this stupid vaudeville softshoe number to Jo, explaining how it happened (complete with a story about how he jumped up in the boat and fell in the water, and how she jumped in after him to save him- all in the most dreadful rhymes ever composed). At the beginning, the four sisters sing a song together called "Our Finest Dreams". Now, that sounds like a beautiful little number about their Castles in the Sky, right? Well, no, that'd make too much sense. Instead it's about the Christmas play they are going to put on and how they'll always be f amous in Concord for their spectacular play.
Then there's Aunt March!!! She's apparently morphed into some sort of Norma Desmond-esque ex-beauty queen. And the relationship between Professor Bhaer and Jo? It's built on the fact that they are nothing alike, do not get along, hate each other, and then, suddenly, fall in love. Oh, and Mr. Laurence's New Years Dance? Well, it has become Annie Moffat's Valentine's Dance (which I don't really mind). And while the girls are getting ready for the party, Meg (yes, that's right- MEG, you know, the most ladylike and gracious of the sisters?) is all nervous and asks "What if someone asks me to dance?" At which point, Marmee, Beth, and Jo launch into an awful little ditty called "I'd Be Delighted".
In short, this entire production (judging soley from the CD) is a mockery of this beautiful story. It might as well be called "A Girl Named Jo, who, oh by the way, Had Three Sisters". Every single character (except Jo and Marmee) has become a shallow hull of what they really are. There is nothing of Meg's practical nature, instead she's a wimpy little puppy. Amy is represented soley as a bimbo (even when she's an adult and engaged to Laurie). Laurie is obnoxious enough to be Steve Urkel's long-lost twin. Bhaer is just some dopey mopey German guy who falls in love with Jo not because there's a reason to, but because that way we get a happy ending with everyone paired up. Mrs. Kirke is there, but she doesn't really sing anything... but I did notice that they spelled her name Kirk which is not really a BIG deal, but it bugs me because it just isn't they way it's supposed to be. And Hannah and Mr. March aren't even present!!!
On one hand, I would never recommend this CD to anyone, but on the other, I feel like you simply must hear it to fully grasp how bad it is. Although, like I said, there are a few nice moments. Marmee's songs are both good, and there's a duet between Beth and Jo that's very pretty. I guess, all in all (and maybe I'm contradicting myself here), the *songs* are okay, but the lack of characterization bothers me. These are all wonderful, full, lively characters, but they are almost invariably represented as paper-thin shadows that are only there to add background to Jo's story.
Description of Little Women The Musical (2005 Original Broadway Cast)
All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed.Louisa May Alcott's novel Little Women concerns four sisters in post-Civil War Massachusetts, but at times it feels as if its musical adaptation should have been called "Little Woman," so focused on a single sibling it is. Both Allan Knee's book and Sutton Foster's natural charisma and energy help constantly train the spotlight onto tomboy Jo. Yet it's not that much of a problem because Foster is strong enough to carry the show. She gets excellent support from the rest of the cast and especially cabaret artist Maureen McGovern, who as Marmee gets two beautiful ballads ("Here Alone" and "Days of Plenty") that are tailor-made for her imperial, burnished tone, and could well acquire a life outside the show. Composer Jason Howland worked as either musical director or musical supervisor on three period-set Frank Wildhorn musicals (Jekyll & Hyde, The Scarlet Pimpernel and The Civil War), which gives him a distinct experience in dealing with the historical setting here. Although the score oftentimes veers to the bland side, Howland also shows encouraging signs of spryness ("Five Forever") and melodic confidence that at one point slyly honors Sondheim ("Astonishing"). Old-fashioned in the best possible way, Little Women makes a good complement to Wicked for those trying to entice a younger audience to the delights of the musical theater. --Elisabeth Vincentelli
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