Customer Reviews

Anything Goes (1988 Studio Cast) - Cole Porter

5 star:		(8)
4 star:		(1)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Cole Porter's brilliantly witty show, written to raise the spirits of depression-enfolded America, is a wonderful treat. After two reworkings, the stage version of Anything Goes presented today is different from the original, but this modern recording (aided by one of the original orchestrators) brings back the magical work that inspired the audiences of the 1930s. Talented voices that compliment the orchestra well, good articles and an interview in the CD booklet, as well as Cole Porter's brilliant music make this an essential for the Anything Goes fan.

There are several fine versions of Anything Goes available, but the 1988 London version is the best in my opinion, thanks to sensational orchestrations and the wonderful, naughty, zesty, sexy performance by Kim Criswell who in my opinion is much better than Patti LuPone. The title number will knock your socks off, especially if you are used to the tame version by Ella Fitzgerald. Frederica von Stade is fine too. Fantastic sound quality as well.

Of the many ANYTHING GOES recordings, this is the ONLY one to recreate the score as it was heard on opening night in 1934.

The later stage revivals (1962 and 1987) dropped some of the original songs and added other Cole Porter standards. While these versions play well on stage, there is something to be siad for hearing the original text and orchestrations. While no one can replace Ethel Merman's original star performance, it was not preserved because "original cast" albums were not being done in 1934. She did record some of the songs over the years but never with the original orchestrations. (Just think if EMI had made this set in the 1960s and brought Merman into the studio to record her interpretations! What a missed opportunity.) That said, Kim Criswell brings the requesite belt to Reno Sweeney's songs. Cris Groenendaal brings a pleasant light tenor to Billy Crocker's songs, and Frederica Von Stade (one of the few opera singers whose voice seems well suited to american musical theatre repretoire) is well suited to Hope's short musical scenes. As an ingenue, she doesn't get to sing all that much!

Not all is perfect. Jack Gilford was too old and frail having little voice left for Moonface Martin's number. And the Ambrosian singers sing correctly without having the proper "broadway" sound. Nevertheless, John McClinn conducts with precision, and the thick booklet is full of fascinating facts about the show, a detailed synopsis, all the lyrics and an amusing glossery explaing some of the obscure references in Porter's original lyrics.

My introduction to ANYTHING GOES was the 1962 revival on LP. (Remember LPs? Remember when vinyl meant music and not imitation leather?) With it I became an Eileen Rodgers fan and remain so to this day. (Would someone please re-issue the original Broadway cast recording of TENDERLOIN so Broadway fans may hear Ms. Rodgers belt "Little Old New York" as only she can? I was fortunate to purchase the Angel Broadway CD before Capitol dropped it, along with many other fine cast recording. Shame!!!) Anyway, I like this version and highly recommend it, especially for its restored original orchestrations and for the excellence of its three leads. Yes, the Ambrosian Singers are too well trained and "proper" to sing "Broadway" and the bits of dialogue reveal how the "book" played second fiddle to the music in those days. Thankfully, this would change with SHOW BOAT, and John McGlinn's EMI recording of the complete score with dialoge - although not my favorite - is an invaluable document and needs to be in any serious collection of Broadway show recordings.

I truly appreciate the authenticity of this (ANYTHING GOES) project. I only wish McGlinn and company had not approached the show with kid gloves, because it lacks the energy and immediacy of a good Broadway cast recording. There were times, when listening, I felt as I often do in a museum. The piece of art is a classic and much to be admired, but don't get too close. And you mustn't touch! Nevertheless, I highly recommend this recording. Kim Criswell deserves to be on your shelf along with Eileen Rodgers and Patti LuPone.

I'm too young to have heard this music when it was originally released, but heard some of the songs on the radio as part of a Cole Porter feature and liked them. I looked up the details on the BBC website and tried to find the same recording on-line. The only way I could get it was ordering from Amazon America, which I did. No problems - delivery within 2 weeks and (including postage) same cost as a full price CD in UK.

If you know any of these songs and want to hear them recorded with original orchestration, without anything added or taken away, and sung by very good singers, then this will fit the bill.

Orchestration is very good, nothing too lush or fancy, it just fits the words perfectly. And beautifully recorded.

The singers are all very good except for Jack Gilford who I personally thought was awful - but he only features once. Kim Criswell is exceptional.

With the CD comes a very informative booklet, giving full text of the lyrics, background to how the musical came to be written, and an explanation of the context of the topics covered by the songs.

I'm very glad I went to the trouble of getting this CD. If you want to hear Cole Porter's musical as it sounded originally, then get this!

This recording is a treasure, featuring several selections that were cut from earlier versions of "Anything Goes." A notable example is "Buddie Beware," a hilarious song which tells of a woman's reticence to marriage. It could be a big hit among cabaret artists if it were better known. Kim Criswell makes an appropriately brassy Reno, although her interpretation of "I Get a Kick Out of You" is gorgeously plaintive and lyrical. The lead male, listed as Bruce Hubbard on this site but as Cris Groenedaal (sp?) on my CD, lends a handsome voice and fine phrasing to the role of Billy, while the great Frederica von Stade shows versatility as Hope: not all opera stars can sing Broadway with as much success as she does. Jack Gilford is his usual endearing self as Moonface Martin. A fine ensemble is led by John McGlynn, and the incidental soloists are all excellent, especially the lady with the Pekingese! This is a great addition to anyone's collection of Broadway soundtracks.

Generally very good performances, some of the earlier ones not quite as energetic as I would like, but the album makes up for that by including songs from the original production that I had never heard but thoroughly enjoyed.

If you like Cole Porter and/or musical comedies, don't miss this item. The performances are outstanding. The entire production is faithful to the original production. Also included is a very thorough booklet, which even has a glossary explaining Porter's allusions in his lyrics.

This recording has two sides. One one hand, it follows the original 1934 score very accuratly, and Kim Chriswell is the best Reno I've ever heard, but on the other hand, I find a little less exciting than other recordings. I personally think that the 1964 revised show was better. I enjoy the added and improved songs, and it makes better use of the plot. However, there really isn't a superb recording of the 1964 show.

This CD is quite a classic, as it is Anything Goes, but in as close to its original form as possible. The other recordings of Anything Goes have been altered significantly with dropped and added songs. This CD also is very much in the classical musical theater style. This seems to be an ensemble piece, with big chorus numbers mixed in equally with love duets, and the occasional ballad. After listening to a few tracks, you will surely have a tune stuck in your head, but the nice thing is none of these are annoying tunes. The singers (save one) are great; the lyrics are decent, although sometimes predictable, and the orchestration is out in full grandeur. I would suggest this for collectors, older listeners, or listeners of the older musicals. This is not one for the newer listeners who are captivated with the likes of Wicked and Tarzan. For the newer listeners I would suggest getting the 1962 Off-Broadway Cast, it has a much fresher feel to it, and I prefer it to this one. Favorite Song: "Anything Goes"