Customer Reviews

Do I Hear a Waltz? (Pasadena Playhouse Cast)

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

 

 

I have long loved "Do I Hear a Waltz?" and have hoped that there would be a second recording to supplement the flawed original Broadway cast recording. But that seemed unlikely to occur any time soon.

Here it is, though. This recording represents the revised "chamber" version of the show, cutting back the several locales of the original to essentially one set, as in the source material, Arthur Laurents's "The Time of the Cuckoo." This causes the loss of one good (though not great) song and the revision of another. The second song, "Here We Are Again," is not as effective in the new version, at least outside the context of the show itself. On the other hand, this new version of the show has restored a song that was cut originally, "Everybody Loves Leona." And, of course, the famous original lyric for "We're Gonna Be All Right," unused on Broadway, is restored here (in a fine new orchestration by conductor Steve Orich).

The most important thing to say, however, is that this is a wonderfully vital, touching, alive performance of this terrific score. Also, several sections that were not included on the original Broadway cast recording are included here (including the neat overture), as well as a fair amount of lead-in dialogue, all beautifully performed, and some gorgeous underscoring. The decision to retain Ralph Burns's original orchestrations (except for "We're Gonna Be All Right," where a new orchestration was necessary because of differences in the song) is also something to be grateful for, especially as Steve Orich's conducting makes the most of Burn's rich work on this show, which was in a style very different from what Burns was best known for. The orchestra has fewer players than the Broadway recording did, and there are times when a more sumptuous string sound would be nice. For the most part, though, it's not a problem. In fact, in a couple of songs--"Someone Like You" and "Stay"--the lighter sound (and fleeter tempi) actually help, helping to make these two songs, which never quite worked, far more effective than on the original cast recording.

Although the voices in this cast are almost uniformly less strong than those of the original cast, the performances are so rich, so detailed and touching and funny, that it hardly matters. Allyson Reed and Anthony Crivello in the leading roles deserve particular commendation. (It is true, though, that in one song, a couple of the cast members make some less-than-beautiful sounds, which are briefly bothersome.)

I will always want the original cast recording as well as this one, but this one is, overall, a more effective listening experience and a fine record of what must have been a superb evening of theatre. Bravo to everyone involved in this unexpected and very welcome release!

After hearing what a dud this was for years, I never bothered to buy the original recording. But after buying this newer version I was surprised how much I liked this! While it doesnt rank as the best of Rodgers or Sondheim, its much better than I was expecting. I even went ahead and bought the original cast recording after buying this one. If I had to choose, I would recommend this one as the better choice. It has an overture, the original lyrics to Its Gonna Be Allright and the song Everybody Loves Leona which isnt in the original. The lead ins and voice overs also help to establish character. But if you can swing it, get the original cast too (its cheap!) for Elizabeth Allen and Sergio Franchi

Here's a perfect example of the fragile brilliance of Sondheim's work. Without perfectly chosen casts (arrived at after rigorous casting sessions), who, after weeks of rehearsal, wholly inhabit their characters, a score like this, so exquisitely made, can founder, as it does whenever these principals sing. Leona, a harsh harridon, beats the hell out of the songs, displaying no yearning, no innocence, unlike the very adequate Elizabeth Allen on the original. The Renato fares even worse: anemic-voiced, reedy; there's none of the essential masculinity to his voice or delivery.

Also, the orhestrations are serviceable, but really could've used the subtlety, the emotional smarts, and the gorgeous musicality of Jonathan Tunick; in particular, in his current no strings 'chamber' phase, he would really have brought out the character textures and the sumptuousness of the music.

On the plus side: the reduction in the Burns orchestration for a smaller theater really helps the score; the faster pacing of the slower ballads, delivered, oddly, as dirges in the orginal, help those songs a lot. Sondheim's lyrics are so incisive and playful, to the point where the playfulness is an art form in itself--high art. The dialogue really helps explain the numbers here, and filling in the numbers that, in the orginal, are fragmentary, really brings out the beauty of this score.

One further qualm: the title number has no emotional impact whatsoever. It's an odd, writerly notion anyway, that she'll hear a waltz when she falls in love. But this one hits us without any preparation, no build up, and she delivers it as if she were trying to jump start an Ethel Merman revival.

Recast...get Tunick..bring to New York..it's a real, genuine, beauty!

One of the shows that no-one ever expected to be revived was DO I HEAR A WALTZ?, the 1965 musical version of "Time of the Cuckoo", with music by Richard Rodgers and lyrics by Stephen Sondheim. The show crashed and burned during it's original run and was basically relegated to the "fabulous flops" file. Fast forward to 2001 and the Pasadena Playhouse, who decided to dust off the show for a second chance at success.

Alyson Reed, who essayed the role of Cassie in the movie version of "A Chorus Line", played the lovelorn teacher Leona Samish whose holiday in Venice gives way to a whirlwind romance. Veteran Broadway star Carol Lawrence (most famously the original Maria in "West Side Story") plays the ebullient hotelier Signora Fioria, and sings the role's main number "This Week Americans" with all the showmanship and gusto that only a performer of her ilk can provide.

Alyson Reed's powerful and belty mezzo is well-used in her performance as Leona. The role's originator (Elizabeth Allen) had a similar sort of voice and the role really comes to life because of it. The rousing introductory number "Someone Woke Up", a fine combination of Rodgers at his most energetic and Sondheim at his most pragmatic, is indeed a highlight of the complete score.

While the work will never quite acheive the level of greatness that defines the all-time classic Broadway musicals, DO I HEAR A WALTZ? does give some pleasure with Richard Rodgers' most youthful and wondering score.

Much has been written about the squabbles between Richard Rodgers
and Stephen Sondheim when the musical was first produced. The
show opened to lukewarm reviews and closed after about six months.
The title song achieved some popularity and the cast recording was
pleasant to listen to thanks to Sergio Franchi and Carol Bruce.
This new recording is most welcome since Alyson Reed is outstanding
as the female lead. The sound is excellent. Carol Lawrence does
a pretty good in the Carol Bruce role. Anthony Crivello is a fine
singer but doesn't have the soaring tenor Franchi had so it is hard to see his appeal. Perhaps on stage he did better. Fynsworth Alley deserves praise for giving us a new version of the score and quite a nice one too.
bad economic times.

I am somewhat prejudiced. I was in Boston when the original show was in tryout - an impressionable journalism major at Boston University. Cast member Stuart Damon was kindness itself in granting an interview and taking me backstage during rehearsals. I'll never forget the event and I'll never forget the bittrsweet romance of the show.

This attempt to revive the production has everything going for it but heart. What you do have on this album that you don't on the original is: the OVERTURE (a trifle); two short numbers - ENGLISH LESSON (less than half a minute) and GOING TO THE LIDO (less than a minute and originally part of the ensemble of HERE WE ARE AGAIN and more effectively used therein); a final reprise of THIS WEEK AMERICANS; and three major additions - the complete PERFECTLY LOVELY COUPLE (only the last half of it was recorded on the OC album); the dropped EVERYBODY LOVES LEONA (mediocre) and a completely new lyric for WE'RE GONNA BE ALRIGHT (clever lyrics but so cynical and degrading in its attitude towards marriage that it does not fit the rest of the show).

The only performer who is stellar is Carol Lawrence - a match for the show's original Carol Bruce in both acting and singing ability- she steals the production. Everyone else ranges from serviceable to mediocre. Crivello's voice is lousy- it's all tremolo and very hard on the ears. His attempt to hit the last extremely high note in STAY comes out as a rasp. What throws off the entire production is Alyson Reed. It's like having Elaine Stritch in the role - she is brassy, rude, prudish, demanding, unattractive and totally unsympathetic as Leona. The recent revival of BELLS ARE RINGING suffered from the same total lack of warmth in its brassy leading lady.

For Rodgers and Sondheim purists the album is worth purchasing for the additional material not on the OC album, but this revival result is a far cry from the beauty of the original.

This brand new recording of the recent Pasadena Playhouse production of "Do I Hear A Waltz" is glorious. It captures the long forgotten charm of this overlooked piece of musical theater perfectly. For anyone who loves the American musical theater now is the time to catch up on this charming and bittersweet show. It does the creators Sondheim, Rogers and Laurents proud.
Beautiful voices and wonderful orchestrations bring this little seen and seldom produced show to life. Enjoy!

A great recording of this overlooked gem. I had the fortunate opportunity to see the George St. Playhouse production which was the forerunner of the Pasadena production and was thoroughly enjoyed by the scaled-down intimacy of this work. On this disc, most of the performers are a delight. There are some problematic moments with one of the singers, but overall, this recording is a treasure. The Richard Rodgers score is fine and the lyrics of (early) Steven Sondheim are clever. I highly recommend this album to the original, which was also first-rate .

To me, Sondheim's occationally cynical lyrics are just what is needed to bring the somewhat lighthearted sound of Rodgers tunes down to earth. The result is a strong and fascinating contrast between the elements of the musical, which is absolutely right for this ambivalent piece of theatre.

In DIHAW one may recognise themes and issues explored in other, all-Sondheim musicals like Anyone Can Whistle, Company and A Little Night Music.

Stephen Sondheim's patented ironies sung to Richard Rodger's soaring melodies? Only Oscar Hammerstein thought this was a good idea-- as his protege, Stephen Sondheim, was extremely talented. Sondheim was pretty young here, in his thirties, and if he had been able to hide his personality, and just write in the style of Hammerstein, this might have worked out,(the period songs in Follies show how good he is at writing in other styles.) But Rodgers, at his most curmudgeonly, was pushing Stephen to write the songs the way he wanted-- and I don't think Sondheim, when pushed, is at his most accomodating. So here's what you wind up with: lyrics that compromise Sondheim's wit and irony, combined with music that waters down the lilting ebullience of Richard Rodgers.

I listened to "Do I Hear A Waltz?" just once, because there was nothing on it which I wanted to hear a second time. And I am a big Sondheim fan, and a big Rodgers fan. I like pickles and ice cream , too. Just not at the same time.