Customer Reviews

110 in the Shade (1999 Studio Cast)

5 star:		(11)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

Harvey Schmidt and Tom Jones are best known for their chamber musical, THE FANTASTICKS. 110 IN THE SHADE is another sweet little musical with a simple story, so I must admit that I was hesitant to purchase such a pricey recording of the show. Why the high price? It's a foreign import and it's a double CD, even though it features only 97 minutes of music. Despite the price, this is one of my favorite recordings I own of any musical.

THE STORY:
Lizzie Curry, a likeable, well-educated, but somewhat awkward woman, worries that she will become an old maid. However, in the course of a 24-hour period in the Western town in which she lives with her brothers and father, her self confidence is restored through her conversations with two men: File, the local sheriff who's considered the most eligible bachelor in town, and Starbuck, a fast-talking traveler who claims he can break the town's drought.
In my opinion, although the story is well-written (based on N. Richard Nash's THE RAINMAKER) and the score is great (except for "Lizzie's Comin' Home"), this is a difficult musical to do well. The actress playing the part of Lizzie must walk a fine line between being sympathetic or merely pathetic.

THE RECORDING:
Fortunately for us, one of the first musicals that album producer John Yap saw in London was 110 IN THE SHADE, and it moved him. Inspired by the 1992 New York City Opera revival of the show, Yap has given it a complete symphonic recording, including the underscoring and the alternate arrangements of several pieces by the City Opera production. The liner notes, so often a problem in JAY Productions recordings, are detailed and informative, much of them written by Jones. It's obvious that the production of this recording has been a labor of love by all involved.

The leads are fantastic. Stealing the show is Karen Ziemba, star of the City Opera production. She makes Lizzie noble while still exposing her insecurities. Her voice soars on three of the best numbers in the score: "Love, Don't Turn Away," "Simple Little Things," and "Is It Really Me?" Some people may argue that her voice becomes a bit whiny in the original take of "Raunchy", but I argue that she uses this vocal tone to show Lizzie's discomfort. Her dialogue over some of the underscoring is so well done, it's almost poetic.

Ron Raines makes an excellent Starbuck, with all the brashness and surprising "introspectiveness" needed to pull off the part. Jones comments on Raines' performance of the "Rain Song": "...it never worked the way it should until I heard Ron's rendition." Raines' take on "Melisande" is wonderful, too. His acting talents are also apparent in the spoken dialogue.

Richard Muenz (also from the City Opera cast) rounds out the leads as File. While I am not usually a fan of Muenz's work, his vocal qualities are a perfect match for the lonely sheriff, especially on "Gonna Be Another Hot Day," "A Man and a Woman," and "Why Can't They Leave Me Alone?" His rendition of the "Poker Polka" is also excellent, although it seems a bit out of character.

The supporting cast (including Schmidt and Jones in small speaking parts) is great. The standout is Kristin Chenoweth as Snookie in "Little Red Hat."

SUMMARY:
It's an expensive recording, but it's very good. This is a must-have for Broadway fanatics. Wait for it to go on sale, or buy it used.

Schmidt and Jones are tragically underrrated as Broadway composers; everything they do combines beauty with intelligence. Nowhere is this more in evidence than 110 IN THE SHADE, and this recording is absolutely fabulous.

There have always been some people who hate this score -- I suspect they find the Texas accents corny or trivial, a tad "Lone Ranger". And there is little sex or "grit" in the score other than "Raunchy" -- this one is not about "You Go Girl" in any way.

But if you can see vernacular beauty in the accent and don't need bumping and grinding à la CHICAGO, then this score is truly magnificent -- the Rodgers and Hammerstein model divested of saccharinity and applied to some real people.

This recording is just stunning. The orchestra sounds fantastic. Karen Ziemba is not a GREAT singer, but thoroughly adequate and, as such, a more plausible gal out on the plains than the creator of the role, Inga Swenson, who sounded like she would rather have been doing LA BOHEME. Everybody else is cast just right, including the nice treat of Kristin Chenoweth in LITTLE RED HAT.

The going wisdom has always been that Robert Horton's Starbuck was somehow inadequate, that he was just stuck in because he was a TV star, and wasn't up to the task. I have never quite understood this -- maybe there was something wrong with him on stage (I am too young to have caught the original), but as far as singing goes, he sounds great on the original to me, and I suspect that the verdict on him was due in part to a reflexive anti-television snobbery. And if anything, his youth fit the part in lending him an earnest callowness that the more burnished Ron Raines does not have. However, Raines does quite well.

Of course there are little issues. Edwards sometimes conducts too slowly. I think he is trying to bring out the luscious Hershy Kay orchestrations (and God, they are good -- just listen to how much he sticks into something as potentially throwaway as "Lizzie's Comin' Home"), but at times this means subverting the intended atmosphere. "The Rain Song" really should be more peppily revivalistic than the leisurely tempo Edwards takes, even if he allows us to hear every fillip in the wind and brass section, for example.

But then NO recording will ever strike any individual listener as perfect, and at least Edwards' intentions are good. This is THE recording of 110 IN THE SHADE, complete with bonus tracks of City Opera arrangements. These two CDs eloquently demonstrate that many Broadway musicals are substantial musical literature, one of America's most valuable contributions to art. If you can hear sincerity in a country accent and don't need "hot" in your musical theatre scores, then buy this one -- support JAY so that they will keep recording America's musical theatre legacy while American companies are too crass to realize they should be doing it themselves.

I've always loved this story, but had never heard the musical before. This is amazing!!! And Ron Raines is terrific. Another reviewer said he "sings the hell out of the score" and I enthusiastically second that. "Rain" is one heckuva song, and Raines is one heckuva singer. It's a dynamite combination. Karen Ziemba's first rendition of "Raunchy", however, is like fingernails on a chalkboard. The second, in the bonus tracks, is much better. The score is so wonderful and Raines is so powerful that Ziemba's few screeching moments can be overlooked (most of what she sings is lovely). Buy this set - you won't be disappointed.

Thank God for JAY Records and John Yap! The musical theatre is a much better for these two force, and how. This score is a masterpiece. The story is simple and beautiful, and the ending will have you moved. Tracks 5 and 8 on the second disc alway bring a tear to my eye, and they will to your's, too. The London National Symphony Orchestra can play the hell out of this score, and Ron Raines can sing the hell out of it (particularly in his rendition of "The Rain Song," which the author's love the most out of every rendition they've heard). Karen Ziémba can act very well, and handles most of her songs with great style, but she is somewhat lacking in the vocal department. She sings the song "Raunchy" better in the bonus track, New York City Opera version on the second disc (at a slower tempo, and a lower key), than on the first disc, within the context of the show. Kristyn Chenoweth (as always) is so cute, and she and Sam Samuelson make for a sexy, and hilarious rendition of "Little Red Hat," their second act (not to mention ONLY) duet. George Lee Andrews gives a touching performance as Lizzie's father, and Richard Muenz is a Sheriff File that is of good voice, and great character. He and Ziémba are beautiful in their act one duet "A Man and A Woman." Buy this album to hear one of the most beautiful musical theatre scores written, EVER.

110 in the shade is not my favorite of scores (there are a couple of songs which I felt could've been much better written), but it's impossible to avoid falling in love with this 2-CD set, which throws beautiful orchestrations, perfect engineering, and a phenomenal cast at this musical version of "The Rainmaker." Karen Ziemba sounds stunning as the shy and scared Lizzie, as does Ron Raines as the confident Starbuck. The choral work is exquisite and lush, and there are little "bonuses" sprinkled throughout (such as the delightful Kristen Chenoweth on "Little Red Hat"), and several tracks from the NYCO production.

Meticulous and comprehensive liner notes (but no lyric sheet) round out a wonderfully complete package.

I can't tell you how much I love "110 in the Shade."

I was fortunate enough to be in a regional revival of this work several years ago. At that time, I was astounded that "110" wasn't more widely performed. I am even more astounded that it still remains relatively unknown and unheard.

Without a doubt, "110" is one of the most beautiful Broadway scores I've ever experienced.

Lush orchestration. Gorgeous, memorable (and oh, SO sing-able tunes). And songs which directly express and support the characterization/plot/action/setting found within the play upon which it is based.
The Original Cast album has been out of print on LP for decades. And the CD reissue of that is also out of print.
The recent, more complete CD recording, was a revelation to me. I found it only a few days ago.
I was thrilled to hear many of the excerpts (I remembered from the staged production in which I took part) restored on the two CD set. I had forgotten many of those. I didn't realize how much I had missed them in the Original Cast recording.
I do have to say that I prefer (somewhat) Inga Swenson in the role of Lizzie. Especially in "Old Maid." Swenson packs an emotional wallop (in the final notes of that) which may be very slightly lacking in the recent CD recording. But I do love what the recent Lizzie does with the role. I admit that my ears are attuned to Swenson, and I probably will come revise my opinion on this.

But as far as Starbuck.

WOW! What a difference!

Ron Raines (with whom I once worked) is a wonderful singer/actor.
There is so much more depth in his protagonist...and so much more voice.

Robert Horton (the original Starbuck) was no lightweight. And he sings better than many would expect. But he was no Ron Raines.
The rest of the cast (in the present CD issue) are all exceptional.

I have to beg to differ with someone who posted a review saying that the show (of which he saw a production) was forgettable, except for one good dance sequence.

I had never heard the dance music before this CD edition. What I'm talking about is the dance in the second act picnic scene. The production I was in omitted it.

I can't tell you how jarring it was for me to hear a dance (tap?) break inserted into that scene. It seems totally incongruous and out of character with the rest of the show. I can see why the director with whom I worked chose to omit it. Still, it is interesting to finally hear it. It probably works better on stage than on CD.

Anyway.

I can't recommend this CD (or the show itself) highly enough.

Anyone who is interested in hearing a musical which hasn't been performed very often (or anyone who is looking for a forgotten classic of American Musical Theatre) really MUST listen to this recording.
You will not be sorry for having bought this CD set.

Karen Ziemba sounds wonderful on this recording as do Ron Raines and Richard Muenz. I found myself listening to this recording over and over again this summer. The music is gorgeous. Buy this recording; you won't be disappointed.

What a rare treat to find a recording of a long lost show, that was actually far better than anyone gave it credit for at the time of the original production. 110 has a gorgeous score, totally evocative of the period, and wonderfully advancing plot and character. The performers on this recording are all at the top of their game. Karen Ziemba cements her place as one of broadway's most leading of ladies. Richard Muenz, once again shows off his fantastic baritone voice, and Ron Raines is brilliant as Starbuck. The recording makes it difficult to realize that it was only a studio recording, it is completely effective as a total production (though a Lincoln Center production was performed a couple seasons earlier with Ziemba and Muenz leading several of the recordings cast members, this is NOT a cast recording.) Happily, it was revived last season with the fantastic Audra MacDonald heading the cast. However, this recording is much fuller sounding, and far more complete than the original cast album (tho that recording is still pretty terrific.)

110 in the Shade has long been one of my all time favorite Broadway scores ever since I saw the original production in 1963 and I have played the original LP (and compact disc of the original) hundreds of times. So for me to say that this new recording is even better says a lot. This is a recording of the full score, with incidental music included and there are even songs that were deleted from the show. Karen Ziemba and the rest of the cast are terrific; her voice is less operatic than that of Inga Swenson in the original show and is easier to take of repeated hearings. The orchestrations and recording itself are first rate. If you love Broadway show albums, this is one to have.

I used to own the Original Broadway Cast album of this show, and until receiving the new CD version yesterday, I'd forgotten how flat-out gorgeous this score is, especially the choral work in the number at the top of the second act -- it's incomprehensibly lush and arguably some of Hershey Kay's best work.

I'd always thought this show deserved a second chance on Broadway. The NYCO revival was a good start, but I'd dearly love to see it in a Broadway house again. It's head and shoulders above almost everything out there today and merits a serious new production.