Customer Reviews

Hello Again (1994 Original Broadway Cast)

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

 

 

Upon a first (and, indeed, a second and even third) listening, I found myself strangely unaffected by LaChiusa's score, with the exception of 'Tom' and 'Mistress of the Senator'. However, I persisted in not giving up in disappointment, and "Hello Again" gradually yielded its subtle brilliance.

In order to fully appreciate what LaChiusa accomplishes, I think it is necessary to keep in mind that "Hello Again" is an exploration of sexual conquest. In Scenes One through Four, there seems to be little consequence for either the predator or the prey; the predator attains what he or she was after, and the prey has lost his or her innocense and naivety when it comes to sexual intercourse. Indeed, there is the undercurrent of a playfullness to the eroticism.

But there is an interesting shift in Scene Five. The Young Wife is engaging in sexual intercourse with the Husband, but is fantasizing about a total stranger that she had a brief dalliance with. Whereas in Scenes One through Four, the acts of intercourse were simply for the pleasure, the feeling of love is added to the act.

Scene Six returns to the idea of sexual intercourse as being for pleasure alone, but it ends in disaster: the predator (The Husband) dies, while the prey (The Young Thing) escapes to live.

Scene Seven adds another twist. Scenes One through Six began with the sexual predator looking strictly for pleasure, with the Young Wife in Scene Five finding love encroaching on the pleasure. In Scene Seven, the Writer may be cruising in a gay bar, but he is looking for love, which becomes quite evident when he and the Young Thing end up together in bed. However, the Writer so idealized love and its connection with sexual intercourse that he is ultimately isatisfied. Scene Eight continues the idealized notion of love and sex from Scene Seven, with even more disastrous results for the Writer: he ends up being the prey instead of the predator.

In Scene Nine, the Actress is interested in sex as power, and attempts to wield it over the Senator, who isn't won over. This comes across as the final nail in the coffin of sexual intercourse as being purely for pleasure.

Finally, in Scene Ten, comes the balance between sexual intercourse for pleasure and sexual intercourse as an act of love. The Whore, whose livelihood comes in providing sex for pleasure, finds that there is something more in the act with the Senator. There is an honest tenderness in Scene Ten that was absent in Scenes One through Nine. Neither the Senator nor the Whore comes across as either sexual predator or prey, and as the scene ends, we see the seeds of an honest relationship being planted. As the Senator and the Whore embrace, the rest of the company appears, still unsatisfied with what they have experienced.

Now, I don't mean "Hello Again" to sound so intellectually demanding as to be un-entertaining. On the contrary, this is one of the most humorous musicals I have ever heard. In particular, the scene between the Young Wife and the College Boy is laugh-out-loud funny, as the Young Wife attempts to bring the College Boy to climax in a movie theatre.

As I said at the outset, "Hello Again" can be a disappointment, even after initial repeated listenings. But by carefully following the lyrics and stage directions in the libretto, I think that "Hello Again" will prove to be one of the most important musicals of the new generation of Sondheim-influenced composers.

This is arguably Michael John LaChiusa's finest musical, and the recording more than does the show justice. Characters come vividly to life in each song, and as the lyrics sharply point out what they think they want, the music subtley evokes their hidden desires. The opening sweet-yet-weary siren song of a prostitute grows into a hot and bothered jazz seduction by a jaded soldier, which in turn becomes the stacatto domination of a young college boy... And so on, until the circle is complete, and everyone says "Hello, again."

There is not a weak link in the wonderful ensemble cast, and the album has the unexpected bonus of featuring many stars before they were well-known. It would be almost impossible to get Donna Murphy, Carolee Carmello, Malcolm Gets, John Cameron Mitchell, Michele Pawk, John Dossett and Judy Blazer to do a show like this today, so it is doubly delightful to hear them together on this recording.

Even in 1994, Michael John LaChiusa was proving himself to be a rising star among theatrical composers. His music for this show aptly displays why he has amassed such a devoted following among theatre enthusiasts.

It's not your typical broadway musical. There's no kicklines. There's no helicopters, barricades or giant chandeliers (thank God!) But there is honest human emotion. There are believable characters. There are hummable songs, and intriguing lyrics. Hello Again is based on "La Ronde" and while you may not think that that would be a great source for a musical... You'd be surprised!!! The musical takes you on a journey from the first notes to the last "Hello, Again" and it's wonderful.

The performances on the cd are very entertaining as well. Carolee Carmello, Michelle Pawk, Donna Murphy are all three women who are now major players in Broadway musical. (Donna Murphy won a tony, Carolee was nominated, and Michelle is a Drama Desk Nominee.) It also features Malcolm Gets from "Caroline in the City Fame" and John Cameron Mitchell (Hedwig and the Angry Inch creator). It's a must-have and I reccomend it to everyone.

I couldn't wait to hear this album. I'd heard Michael John's songs on Audra McDonald's album, and I LOVE his contemporaries. (I think Adam Guettel is a genius.) After repeated listenings, however, the composition seemed meangingless, arbitrary, and unaffecting. "Tom" and "Mistress of the Senator" were the standouts, and Michael John can write a fantastic vamp, but I found his melodies bizarre.

Then I watched the show on video at the NY Public Library, and realized Mr. LaChiusa's brilliance as a dramatist. The show is amazing, and the author's collaboration with Graciela Daniele is seamless, thrilling, and meaningful.

The album may never work for me, when taken strictly on a musical level, because Michael John writes very specifically for character, time, and place. He's exactly what a musical theatre writer should be. When his songs are heard (and seen) in context, they're brilliant, but this doesn't necesarily come through on the cast album.

This year will be the test -- with his upcoming Broadway musicals MARIE CHRISTINE and THE WILD PARTY, hopefully his composition will be able to stand alone, and he'll still commit to character and storytelling.

Being the fan of "new musicals" that I am, I picked this CD up on a whim, and now I can't stop playing it. For those who love rousing opening numbers, humable songs, or lots of tap dancing in their musicals, this is not the one for you. This is a "chamber piece" that examines sexual encounters through the decades. The score is nothing short of brilliant, and I can't understand why no one ever does this show. It's a great recording, a great score, and a great little puzzle (read the stage directions in the libretto). This is one "new musical" you want to own.

In much the same way as Stephen Sondheim's Follies, Hello Againscores through its inventive use of a variety of musical styles fromacross the 20th Century. Whereas in Follies the music is used to reflect upon the characters' past, the music in Hello Again positions each character in their own present, a present which shifts from scene to scene. Each song is well-crafted, and with a quick glance through the booklet, it is not too difficult to appreciate the action. My favourite song in the piece has to be Tom, which is so beautifully orchestrated as to be almost unbelievable. Other songs show the humour, fraud, sadness and frustration that can be had within sexual relationships. Although the music manages to remain upbeat and melodic, little joy is visible in these characters' lives. A look at the female cast list should whet the appetite of anyone familiar with musical theatre in the 1990s. Donna Murphy, Carolee Carmello, Judy Blazer and Michele Pawk remain right up at the top of the list of leading ladies, and this recording gives ample explanation of why. I am less familiar with most of the men in the production, but they compare well with the ladies. Together with The Wild Party, this recording shows that Michael John LaChiusa is one of America's leading theatre composers for the new century. This is an entertaining and accessible show, and long may LaChiusa write for the theatre.

Michael John LaChiusa is my personal favorite of the "new generation" of theatre composers; he blends a modern and experimental approach with traditional theatricality in a very exciting way. This 1994 effort lacks a bit of the edge of the recent "Marie Christine" and "The Wild Party" -- in its place is a strange kind of warmth and optimism. Even as the characters of "Hello Again" try and fail to find emotional fulfillment through ... liaisons, there's never a doubt that most of them have the capacity to find it in some other way.

And as is typical for LaChiusa, the score is highly melodic and accessible, if not something that can be easily broken down into individual songs. Insofar as it can, "Tom" is the principal standout. The lyrics are clever and appealing, and the performances first-rate without exception.

"Hello Again" is Micheal John LaChusia's muscial adaptation of Arthur Schnitzler's play about sexual intricacies, "La Ronde"(the latter was recently adapted once again by David Hare and was featured in the 98-99 Bway season starring Nicole Kidman-"The Blue Room".) Just the cover of this CD is enough send close-minded conservatives far away...however, those willing to give it a listen will not be dissapointed. LaChusia's score is rich and varied as it hops from one locale and time period to another. The cast is truly top notch and the CD liner notes do a great job of filling in the blanks about this most interesting Lincoln Center Theatre production. For those who are willing to take the time and really listen...LaChusia's score is a treasure, however, one time listeners may be dissapointed. Much like his comtemporaries, LaChusia's music merits repeat examinations and rewards loyal listeners.

Having had the chance to actually work on this show makes, with the original cast, me a little biased, but I think my perspective on the soundtrack is also interesting. I would have to say working with this cast under the direction of Graciela Daniele was brilliant, everyone contributes so much to their roll and it was a real ensemble piece. Personal standouts for me were Donna Murphy, even in rehearsal, she had this uncanny presence, that her role as the whore underplayed. The trickiest scene in the whole play was Scene 8 we went thru at least 200, but the cast really persevered. Another favorite of mine is Michelle Pawk, she was like a chameleon and when she hit those notes in Mistress of the Senator I just about feinted. Hello Again does grow on you, and I enjoy listening to it and reliving that wonderful experience over and over again.

This recording of Hello Again shows the promise of a new generation of musical theater composers. LaChiusa, along with the likes of Adam Guettel, are taking over from the stale forms of Lloyd Webber and even, yikes, Sondheim. Hello Again is a great recording of some very interesting material. "Tom" and "The Bed Was Not My Own" are the two standouts on this album, yet the whole show takes a while to grow on you. You will really appreciate this album after a few listens, and it's worth it. Every song is intelligent and clever, and the caliber of the cast assembled is incredible: Donna Murphy, Malcolm Gets, John Cameron Mitchell, Michelle Pawk. Unfortunately this show is not often performed. Luckily, we will be seeing more from this gifted composer very soon.