Customer Reviews

Fiorello! (1959 Original Broadway Cast)

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When I read the following phrase in the review which will (soon enough) be directly below mine - "The music by Jerry Bock and lyrics by Sheldon Harnick (best known for "Fiddler on the Roof") are certainly not spectacular" - I just had to add my two cents. "Fiorello" is spectacularly brilliant!

Here's just a snippet of Sheldon Harnick's masterful lyrics:

From "Unfair": "Must we sew and sew solely to survive/So some low so-and-so can thrive?/NO!!! He'll fry in Hades/If it's up to the ladies/Waistmakers' Union, Local 25!"

From "I Love a Cop": "Then there's Thea...Oh, how gruesome!/Can you see me introduce 'em?/'You remember her? She detested you./You remember him? He arrested you.'"

From "Marie's Law": "Here's another law we women'll/Do our best to legislate:/It shall be completely criminal/For a man to break a date./Each offender shall be rapidly thrown in jail where he belongs./Thus we'll write our Bill of Wrongs."

They just don't write them like that anymore (sigh).

FIORELLO! is a lovely, ahead-of-its-time musical, based on the career of New York mayor Fiorello La Guardia. It starred Tom Bosley as La Guardia with a dream cast including Ellen Hanley, Pat Stanley and Eileen Rodgers.

The score, an early collaboration from Jerry Bock and Sheldon Harnick (SHE LOVES ME, FIDDLER ON THE ROOF) is very strong, and includes several show-pieces like "Politics and Poker", "Little Tin Box" and "On the Side of the Angels".

Ellen Hanley (who had previously been criminally under-used as Polly Bergen's understudy in FIRST IMPRESSIONS) glows in the role of feisty Thea, the sweatshop workers' leader. She has two of the score's best ballads, "'Til Tomorrow" and "When Did I Fall in Love".

Pat Stanley (who earned a Tony for her performance in the disastrous GOLDILOCKS) gets the cute number "I Love a Cop". Eileen Rodgers (who later starred in a successful off-Broadway revival of ANYTHING GOES) sings the showstopping "Gentleman Jimmy", a manic flapper tune. FIORELLO! is a fantastic show in that it has no less than 3 strong female roles.

For those who only started following Tom Bosley's career during his 'Happy Days', the fact that he was a top-drawer musical theater talent will come as a big surprise. Bosley played the entire run of 795 performances. Bosley later made many more successful Broadway appearances including BEAUTY AND THE BEAST and (as of this review's writing) a triumphant stint in the Sam Mendes revival of CABARET.

This lovely reissue on the Angel Broadway label sounds as fresh as paint. An excellent remaster job and an excellent cast album.

FIORELLO was the 3rd musical in history to be awarded the Pulizer Prize for drama. It also won the Tony award for Best Musical of the season (1959-60). After a successful Broadway run the show closed and has seldom been seen since. No movie was made. No TV adaptation. Nothing. A shame because this show has a wonderful score (preserved here) and the book is very well written.

Broadway Angel has done their customary outstanding job transferring this early stero recording to CD and the extensive liner notes in the booklet provide fascinating information about the creation of this musical. The booklet also includes a detailed synopsis.

Outstanding numbers: Politics and Poker; Till Tomorrow; Litle Tin Box; and (one of the best love songs ever written for the stage) When Did I Fall in love?

The cast is good. A young Tom Bosley played Fiorello H. Laguardia. Not the greatest singing voice but then he only sings the title song. (The show is constucted so that Fiorello does not sing except during his campaign speech...all the other characters sing about him. Another innovation.) Ellen Hanley as his loving wife has a somewhat overipe operatric voice (with a bit of a wobble) but it's so in character that she makes her big number (When Did I Fall in Love?) all the more dramatic. Actually the same comment applies to most of the cast: The voices are not terribly musical but so loaded with character that they sound real. And Sheldon Harick's lyrics are dazzlingly conversational.

Get the Cd - then petition your local community group to revive the show. (A Broadway revival of this one is needed!)

Fiorello! stands the test of time because of the great truths it tells of curruption and triumph, that never seem to leave us, yet with wit and humor. For those of you who love Broadway and it's history, there is another gem to discover. The voice and history of the man the Shuberts and Ziegfeld called "The Best Voice on Broadway".


From the early 1900's to Fiorello!, his last musical, Joseph Toner stands as a Broadway Legend to insiders. Toner played three roles, most noteable as the Judge, simply listed among the "Politicians". It is perhaps because of his humility that roles later taken by Mario Lanza have left his name unspoken.

Joseph Toner is the great Baritone voice heard in those songs on the album that include "the politicians" and "company". Toner is best heard in "Politics and Poker" and the greatest voice in "Little Tin Box", so play the game and pick him out for yourself! Toner so impressed the play's creators, he was offered the lead in their following play. Having been on the Broadway Stage for 60 odd years, then gone on the road with so many Broadway productions (mostly by the Shuberts and Ziegfeld), he turned the offer down, in defference to a promise to his wife. You can check him out by looking him up on the IBDB.(not all of his stage work is listed by far-certainly not his work on the road)

He kept singing with his amazing voice until the age of 90, but not for payment. Those who knew him, knew that inside he remained a consummate performer until the end of his life. Unlike most, he never worked at anything but his art, and in his time, never grew rich despite his talent. A great, unspoiled, and relatively forgotten giant of the early theatre, whose voice still rings out in this MP3 of Fiorello! Tom Bosley, you are still out there--what do you remember of the Judge, Joseph Toner?! Who else remembers this man that helped to make Broadway what it is today?!

This review has gone unaltered for over 2 years and Harnick is using it to malicioulsy rake in money that he does not deserve. So this is my addition:

However, I HAVE A DISCUSSION TO START:
The Music of Victor HerbertA Night with Rudolf Friml/Shakespeare's Greatest HitsNight With Jerome Kern & Sigmund Romberg

An examination of a record collection from 1943 which is not stated to include Joseph Toner, was made by an independent studio company. It also was a radio collection by Al Goodman. The quality was not great, and most interestingly on i Tunes, the album is present, with the wrong names of the male singers, and not "Earl Wrightson" at all. Thus far we have discovered that each album, The Student Prince, The Music of Victor Herbert, The Love Duet as I think it is called, are men with differing names, but who thus far match the vocal patterns of Joseph Toner, in addition to the timing of his leaving the stage, or having been forced out of the stage, OR having his recordings release without his knowlege. We would absolutely would have had these recordings if he had known of their existence, and he knew that he had made radio performances and many albums, though had none, and was not allowed to have them. I am beginning to understand why. Now years after his passing they appear again, and a few, very estute ears know to think of him. The recording we had of Caruso, made after Caruso's death, is also a match. We are moved to hear his passion and his great voice once again, but can tell the world that this was in the time of the decline of his vocal power, and it is a crime to hold back any of his recordings. We will make sure that this claim is accurate, with the best people in the business, bu;t today I am announcing the belief on amazon that the voice of Joseph Toner is that of EARL WRIGHTSON. I will add this to all of my reports and to add discussions to all of thos who have shown interest in who Joseph Toner is. The materials that are now considered PUBLIC DOMAIN will be distributed to aid in the President's Art's in Education Program, and we would like to know if Mr. Harnick, who did not have a VALID COPYWRITE at the time of the recording of Fiorello! would like to CONTRIBUTE the FREE usage by Joseph Toner's estate of the use of the songs Politics and Poker and Little Tin Box, to this effort, or see the inside of a courtroom for reparations? Joseph Toner did not have a valid contract, and as Mr. Harnick seems to use MY reviews to sell Joseph Toner's work without compunction despite having an invalid copyright, perhaps we will just do it anyway, and if he wants to try and sue, let us just say, we have the opening night gala, where you said you knew he was in Blossom Time----INTERESTING----that he was not Dechard in Princess Flavia but Rupert of Hentzu, Claimed he was in the wrong Ziegfeld Follies, (did not want that problem with Joseph Toner singing "You Made Me Love You", huh?) , denied he was in "The Student Prince" though it was smack on his application, and Joseph Toner meant the Original, as he marked revivals, I have the copy. Harnick, you made sure not a single photo of Joseph Toner was taken in the opening night gala, or in the spread of photos of the souvenier album by leaving out the scenes of your two hit songs, and the WEEK, or at least 10 days before opening in New York, TEN DAYS, in Philadelphia, YOU CHANGED BOTH POLITICS AND POKER AND LITTLE TIN BOX, recorded them, and made sure that the Shubert Theatre, or the Shuberts, IN CINCINNATTI--violated your copywritten libretto too?????? And isn't it interesting that all this happened in Shubert theatres? I think very interesting. A UNC copywrite attorney says you owe us , well me, every penny made on the two hit songs of the show, as it is so overtly obvious that you needed Jospeh Toner to "FIX" Fiorello! And by the way everyone, Joseph Toner was on stage a lot, but always as the Judge. No "seedy man" and no "heckeler" and he was much thinner at the start of the show. His daughter says he was like that, since he never missed a performace, and Mr. Harnick, you could not afford for him to. You like to misquote people and say that Joseph Toner was well, not you. Joseph Toner was much better than you. That play was nothing without him, and who did the SHUBERTS call to save it? After all they did to him? JOSEPH TONER> AND HE GOT YOU THE PULIZER PRIZE. YOU PUT OUT MILLIONS OF HIS TWO SONGS. JOSEPH TONER MADE YOU. Why not give something back? I expect an answer Mr. Harnick, and soon. Or you will see the inside of a courtroom, so our future theatre artists will know to protect themselves, and study theatre law as well as theatre arts. SHEWOLFF77 Fiorello! (1959 Original Broadway Cast)

New photos to follow!

When purchasing my copy of what was then labeled "Sheldon Harnick" next to each of the downloads of "Fiorello!" MP3's , and the "Broadway Angel" copy of "Fiorello! The Original Cast Album", I was very pleased to see that "Sheldon Harnick", the "Pulitzer Prize" winning author of the libretto (published extensively by Random House with its first copyright as a "Synopsis(c), 1959, by Jerome Weiman and George Abbott"). Oddly, Harnick's name is on the spine of the books of the copyright and he is the writer.


"Harnick", regardless of the above, is in full agreement with "Shewolff" and "Dragontamer", that "Joseph Toner", the Judge really does "steal the show"!

I wish to share my research and a touch of reality. In the booklet, it says "Capitol" bought the rights to the future album in advance. No one ever played the Judge except "Joseph Toner", otherwise known as "Joseph Toner, Broadway Legend". The copyrighted book of the libretto is in the school library, and does not match (1) the recording in "Politics and Poker" or "Little Tin Box", and (2) absolutely has the wrong lineup listed for opening night. "The Pulitzer Prize" for Journalism went to someone who falsified the essential participation of "Joseph Toner" in "Fiorello!"'s success, admitted in "Broadway Angel"'s booklet.


"Harnick" falsifies how it is "Joseph Toner" who is the creator of the hits "Little Tin Box" and "Politics and Poker"! Yet these were the hit songs, and used on a 45 to sell millions in the 1960 election! In fact, "Harnick" is using the reviews of "Shewolff" and "Dragontamer" to sell the disc on his own sites now. This is a re-write, as Harnick used my initial words to misuse me too! Do you think he will print that? On additional research, I have discovered that JOSEPH TONER, BROADWAY LEGEND, was not chosen just because of his operatic talent. Joseph Toner had three prior Pulitzer Prize winning Performances under his belt, as leads, as per the National Theatre, and Harnick's partner, Abbott was around to see it. They were:

1) Our Town by Thorton Wilder
2) You Can't Take it With You
3) Of Thee I Sing (Which Joseph Toner also sang in the huge open air operettas of Jones Beach and Randall's Island in 1937, once in each stadium to sold out crowds)

During these productions Joseph Toner performed under a pseuodnym. He is spoken of in "The Sounds of 'Our Town'" by Applewood publishers, presuming the site is still available. It is quite something that one performer should have been in all three of what I believe were the then Pulitzer Prize winning musicals, and despite performing under pseudonyms, which are just being revealed to those outside Broadway Producers. Is Harnick seriously saying that we are that stupid? If Harnick had nothing to hide, he would not have hidden Joseph Toner for going on 50 years!The fact is that the "Judge" of "Fiorello!", "Joseph Toner", is not just another politician. "Joseph Toner" has a separate role, and "Joseph Toner" is most carefully left out of the lineup in the copies of the Playbills. "Sheldon Harnick" violated his own so-called "Pulitzer Prize winning play", disgracing the life of "Fiorello La Guardia".


Do you know what "Fiorello La Guardia" was trying to clean up during his administration? The abuses of Broadway. History shows, ironically that "Joseph Toner", in the large scale "Opera Under the Stars, Inc." at "Jones Beach Theater", "Randall Island", (part of NYC) was a large part of that effort, singing to well over 1.5 million people of all classes, from anywhere from nothing to--- well, it's hard to say how much "the Shuberts" charged people as time went on. You see, the operas were controlled by "the Shuberts", but subsidized by the "Work Project Act" of Roosevelt. "Opera Under the Stars" was a subsidiary of the "Shubert Organization".


Since the development of the site "Joseph Toner, Broadway Legend", the question is, why did "Joseph Toner" not become a household name? He sang in all three "Student Prince" productions, the second having the longest run in "Chicago", (with "Joseph Toner" as lead), in the original "Blossom Time",(FINALLY ADMITTED after 90 years, ever since it was discovered that "Eugene Martinet" either died in WWI or never existed - see "Huffington Post")."Joseph Toner" was the lead in a 'secret' "Blossom Time" in 1923, when it was playing in 2 theaters and "Joseph Toner" had the false name of "Joseph Mendelson". "Joseph Toner" then went into "The Student Prince" in a major role, as "Detlef". (a Student Leader who sings though most of the opera).


"Joseph Toner" had a long history of success under varied names, which was not atypical, but very odd for someone of his talent. He was in productions such as the "Spring Maid" (The largest pre WWI hit operetta), trained since age 5 in the famed "Chicago Opera Company" with "Victor Herbert", (was probably "Stone" from "Montgomery and Stone"), and was in his "Babes in Toyland", "Naughty Marietta", and "The Red Mill". He was in multiple "Follies" and "Frolics", "Show Girl", the famed "Ziegfeld Follies" of 33-34. "Joseph Toner" was on the same tour of a production of "Cyrano De Bergerac", with a great star of the time, "George Houston".


In 1944 and 45 "Blossom Time" was again revived, ("Joseph Toner" had been in virtually all revivals of the play). This was on "Broadway", and had rave reviews. Under all kinds of names he was in the original and last "Red Mill", "Sweethearts", "Naughty Marietta", including the new version in 1935, which was controlled by "the Shuberts" in "Opera Under the Stars, Inc."


"Dimitri Tiomkin" who only recently has received recognition for the 1935 revised score of "Victor Herbert"'s "Naughty Marietta", attributes the Movie of the same year's success to "Joseph Toner"'s singing of the operetta , which drew huge crowds even before reaching New York. "Dimitri Tiomkin" wrote great scores such as "The Wizard of Oz", "The Unforgiven", etc. "Dimitri Tiomkin" had met "Joseph Toner" in the writing of the "1931" "Jolson" "Follies".


It is true that "Joseph Toner" was the only person to have sung "You Made me Love You" before Judy Garland, and that "Joseph Toner" hated the use of "blackface", which Jolson used. It is a simple matter to check who sang the song. The "IBDB", which is run by the producers and theater owners, USED to say "Joseph Toner" sang the song. Someone put it in "Wikipedia", and POOF, it was gone from both sources.


I found a simple way proving "Joseph Toner" did sing "You Made Me Love You." First of all, nobody would remember it from "Al Jolson" alone, so it had to have had a huge impact. With "Joseph Toner"'s now established history as a true opera star, I checked, from a different location, the "IBDB"'s site, every person involved in that song. Extra music had been added for a dance number! EVERYBODY except one other, who had minimal singing experience, was a DANCER for "Albertina Rasch"-who had a dance company! I COPIED the documentation, which i expect to be changed any minute! The "IBDB" KNOWS THIS! Why are they trying so hard to wipe out "Joseph Toner"?


A lot has been disappearing from "Wikipedia". Entire records of people who could not possibly be true, if anyone knew anything of history, have been appearing. If one knows how to trace the sources, it is almost always the "IBDB" and "IMDB". They are focused on revising history of "Joseph Toner". Nothing is secure, and why all the fuss?


The "Encyclopedia Britannica" online has been hacked, a totally false history of the development of the "Railroads" has been created on another site. "Frank Hornaday"'s history is all virtual, (I. E. created by the internet) I even found false documents on "Fred Stone", created by the "IBDB" and "IMDB". I checked into the history of "Dallas" for starlight operetta, and no such organization existed, not ever. I also found that as soon as "Joseph Toner" disappeared from the "National Theater", so did "Frank Hornaday".


I investigated when "Detmar Poppin" was discovered! As per the "New York Times", he was a 20 year old (approximately) in a 1929 revival as I recall. This makes his history as per the "IBDB" impossible. Not to mention that, as per the "IBDB", he would have to have the gift of bi-location!


"Macauley" and or "Macauley", COULD NOT have been born in "San Francisco", and then been performing in "NY" in the 19teens, as the "IBDB" claims. Not possible. Besides, all his early work was strictly drama, and he suddenly is an opera star? Not to mention that "San Francisco" nearly was destroyed in 1906 from earthquake and fire.


Don't believe what you read on the internet. Authoritative BOOKS say that the closest train tracks got to "Oakland" by 1910, the "Panama Canal" was finished about 1914, because even with trains (which were slow and primitive), we needed a better way to get to the other side of the country. The "Shuberts" did not even the correct spelling of the name. It is "McCauley". However, to the then predominantly anti-Irish sentiment, (which would not have applied to the name Toner, which has Germanic roots, and would have been known as such) making this kind of error is totally understandable. "San Francisco" had virtually no Irish at the time this non person was born (circa 1891). "San Fransisco" was populated by Mexicans, Chinese, and some Spaniards, plus whatever sailing vessels mutinied during the "Gold Rush". Only 9000 US persons went there during the "Gold Rush" and that was well before the Irish immigration. "San Francisco" celebrated the opening of the "Panama Canal" because THAT opened a means of commerce. Trains were not established until the needs of WWII. I do not know who all these lost performers were, but some of "Macaulay"'s and "Macauley"'s, as the "Shuberts" called them, credits belong to "Joseph Toner".


Before the "Shuberts" did too much damage to the "National Theatre Database", "Joseph Toner" came up as having sung the "Student Prince" in 1941, when the name "Joseph Macaulay" was used, and in the Three Musketeers with the same pseudonym. He also came up as singing "The Student Prince" and "Blossom Time" at the end of 1932(which would make sense as he had sung lead in "Chicago" for its long run, and had sung the 1931 "The Student Prince", again as "Detlef".


The "IBDB" has a significant amount of "Joseph Toner"'s music. At one point they reported having "Music in May", which was a major hit. They have his performance in "The Circus Princess" as well, and most certainly the 1931 "Jolson Follies", and also most certainly the 33-34 "Follies". The "IBDB" for the first time is willing to provide music by "Frank Hornaday", but only since his existence was challenged. I say download it. Modern equipment will be able to tell exactly how it was recorded, and a falsified product. The rise of internet security professionals will rip his history apart!


I understand a fraudulent product can be brought up under a claim by the "Consumer Product Safety Improvement Act of 2008", with $100,000.00 fines per unit sold. This brings us full circle. That does not mean one can sue "Amazon"! You must sue the producer of the product. The question remains, why is it that "Joseph Toner" is not a household name?


The "Shubert Organization" is and was afraid of "Joseph Toner". I would think they could arrange to make a substantial profit from his work. Yes it is true that their forbearers 'fired' him for standing up for the civil rights of people of color in the "National Theatre". "Joseph Toner" was part of "Fiorello La Guardia"'s fight to clean up "New York". "As Joseph Toner gained more fame, Shubert sent Joseph Toner away for years". "Joseph Toner returned in triumph, so Shubert changed Joseph Toner's name in the plays, which they have admitted".


What "Sheldon Harnick" did was pervert the essence of "Fiorello La Guardia"'s work with his treatment of "Joseph Toner", a real participant with "Fiorello La Guardia". "Joseph Toner" suffered twice for having been part of the solution. Even worse, attempts are made to make "Joseph Toner" sound like a weaker singer than he is. The album and downloads are billed as being in "mono".


They are not. It is "STEREO". What does this do? It creates the false impression that "Howard De Silva" has the stronger voice, as he has a personal mike. The original album was done in both "mono" and "stereo", and "Howard De Silva" sounds a whole lot better in "Stereo". The photo downloaded shows "Joseph Toner" singing full voice in "Politics and Poker" to the far right. This is the same group in "Little Tin Box". "Joseph Toner" has the powerful voice that starts "Politics and Poker" and calls Ben by name. "Joseph Toner" is not in "the Bum Won". I took it to an audio engineer to be sure. The character "Ed Peterson", as per the libretto, is supposed to be singing most of "Joseph Toner's" lines, and well, he isn't. Without "Joseph Toner" , "Little Tin Box", would have been, " Little Tin Voices".


Considering the "President's Arts in Education Initiative", which I support, "President Obama" should investigate just what "Joseph Toner" sacrificed for our country. "President Obama" should also investigate the affront to his name and to the abuse of the potential death of a serviceman even if it was from WWI, because nobody should forget a veteran, no matter how old, of "Eugene Martinet". The "Shuberts" have no business running the history of the "National Theatre"!


If I were "President Obama", I would petition the "Pulitzer Committee" to revoke "Sheldon Harnick"'s Prize for corruption, and abusing "Joseph Toner", one of the heroes of the "Art Community", whose sacrifice helped "Fiorello La Guardia" fight corruption on "Broadway" and bring equality to our "National Theatre"!


If it were not for "Amazon"'s policy of free speech in their reviews, the public would never learn what is really going on on the internet and in the history of the "American Theatre"!

The Music of Victor HerbertFiorello;: A new musicalFiorello! (1959 Original Broadway Cast)

Fiorello! is a pretty good show that unfortunately, is not that known. At first, I must admit, I was a bit skeptical, but after listening to each song a few times, I began to thoroughly enjoy them. My favorites include the very clever and funny "Politics and Poker", the upbeat, fun, Charleston style "Gentleman Jimmy" and "The Very Next Man". This show has songs of all genres. It includes beautiful ballads such as "Til Tommorow" as well as songs that are upbeat and completely fun to listen to. I would recommend this CD to any Broadway lover!

"Fiorello!" is one of those Pulitzer Prize winning musicals that is now pretty much forgotten. But would you believe "Fiorello!" TIED for four Tonys with "The Sound of Music" in 1959? Look it up: Best Musical, Authors, Composer, and Producers. In the title role Tom Bosley won the Tony as Best Featured Actor while the legendary George Abbott (then 72 years old ) picked up the award for Director. The idea of making a musical about a New York Mayor (who had only been out of office 13 years at that point) might seem strange, but since "Fiorello!" there have been shows on Broadway about Gentleman Jimmy Walker and an off-Broadway one about Edward Koch. But this show is about how an honest politician became Mayor rather than about La Guardia's three terms in office.

The story line in the first act follows La Guardia's career from lawyer cleaning up the sweat shops, to his surprising election to Congress, and his military service in the Great War. The second act, which has long stretches of dramatic action without any songs, focuses on his unsuccessful run against Walker and then his ultimate election as Mayor. What might be most surprising is that along with the politics there is romance. Although his secretary Marie (Patricia Wilson) is clearly in love with him, La Guardia falls in love with Thea (Ellen Hanley), the leader of the sweatshop workers. Although La Guardia marries Thea, Marie does get a second chance at love. The music by Jerry Bock and lyrics by Sheldon Harnick (best known for "Fiddler on the Roof") are certainly not spectacular (can you name a single song from this show off the top of your head?), but are entirely enjoyable and several tunes do a nice job of capturing the musical stylings of the time. For example, the "Gentleman Jimmy" number is clearly a Roarin' Twenties tune. All of the best songs belong to Howard Da Silva and his chorus of Politicians: "Politics and Poker," "The Bum Won" and the showstopper "Little Tin Box." This was the show that brought Da Silva back from being blacklisted, although his greatest triumph in a musical would come years later when he played Ben Franklin in "1776." Even thought this is the show that turned Bosley from a journeyman into a star, there are only two songs where he does any of the singing.

"Fiorello!" is not a great Broadway musical, but it is certainly a good one, worth remembering. Abbott did some fairly innovative work, using newsreel clips of the war and the real Fiorello H. La Guardia reading the comics over WNYC radio during a 1945 newspaper strike to move the story along. This 1959 recording, which remained on the Billboard charts for 89 week and peaked at #7, even manages to avoid a lot of the technical problems we have come to associated with records from the 1950s represented in CD format.

I don't know why there aren't more productions of this show in local and regional theatres. If you think that Bock and Harnick's only great contributions were "Fiddler on the Roof" and "She Loves Me," treat yourself to an hour or so with this disk. Tom Bosley has a rather strange vocal interpretation of the diminutive mayor, but Pat Hanley, Howard DaSilva and other cast members more than make up for that. Don't miss smoky-voiced belter Eileen Rodgers' rendition of "Gentleman Jimmy" or the classic men's show-stopper, "Politics and Poker." There are some great audition songs for all vocal types in this score, and you won't have to worry that the director has heard the number performed twenty times already. For an ironic reminder of the tradition of sexism in the American musical theatre, listen to "I Shall Marry the Very Next Man" ("and if he likes me/ what does it matter if he strikes me/I'll wear his slippers with my arm in a sling/just for the privilege of wearing his ring"). Despite these lyrics, this show is terrific.

I first heard of this musical when my grampa had me listen to it and I've loved it ever since! The songs are terrific (Fiorello La Guardia, unfair, politics and poker!)-to make a long story short it was a great musical about a great man which should be reviewed and put on video!

A romantic view of New Yawk cleaning up corruption through political action. Every song is a gem, with lines like "on the side of the angels" to " up your honor bit by bit". Teaches and entertains. What a guy, what a job, what an office....I would love to see it on stage again.