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8 of 8 people found the following review helpful:
5.0 out of 5 stars
an enchanting show, October 31, 2002
This review is from: Oh, Kay! (1994 Studio Recording) (Audio CD)
Having had the good fortune to see this with dazzling pianist Kevin Cole (featured here) at the keyboard, this recording is extra-special. Buy this if for nothing else than Upshaw's exquisite "Someone To Watch Over Me" that showcases the song, not the singer, but you'll listen to every song with pleasure. This is Ira at his best: "It's never too late to Mendelssohn, Two hearts are at journey's endelssohn..." George, of course, is in prime form. The rest of the cast sings,, and acts, as well as Upshaw, for there's a goodly amount of dialogue here. This is, hands down, my favorite of the Roxbury recordings.
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8 of 8 people found the following review helpful:
5.0 out of 5 stars
I beg to differ, February 2, 2002
By A Customer
This review is from: Oh, Kay! (1994 Studio Recording) (Audio CD)
The only reviewer of this piece prior to me dislikes this recording. I happen to feel it is the just about the most charming of this (now sadly interrupted) series of recordings. Is "Do, do, do" triply dumb? Not as sung here, at least. It's a 1920's pop song which should be accepted for what it is. The whole recording gives a really good idea of what a successful musical of that period was all about. The finish given the choral numbers is sparkling. Anyone who sometimes wonders if the American musical comedy began to die with "Oklahoma" will enjoy this evocation of a time when the form was truly alive.
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
A Sparkling Studio Recording of a 1920s Hit, September 10, 2007
This review is from: Oh, Kay! (1994 Studio Recording) (Audio CD)
I recently finished reading (and panning) Denny Martin Flinn's history of popular musical theater. In it he comments repeatedly that studio recordings of Broadway musicals come up short. And that is certainly true in some instances (Bernstein's studio recording of 'West Side Story' leaps to mind) but of course there were no original cast recordings for musicals from the 20s. There is a 1950s studio recording of this George and Ira Gershwin musical but I've not heard it. But I've owned the present recording for years and it never fails to please me. In reaction to Flinn's sour attitude about studio recordings I pulled it out again today and must say I've been charmed all over again. Not only is the orchestra (the Orchestra of St. Luke's under the direction of Eric Stern [Isaac Stern's son, by the way]) terrific, as one would expect. The singers are simply marvelous. Leading the cast is that magnificent soprano, Dawn Upshaw, who seems to be able to sing just about anything, popular or classical. Her light, lyric voice and her pert vocal acting is just right for the part of Kay. And she is wonderfully partnered by Kurt Ollmann, no stranger to Broadway and the possessor of a beautiful light baritone voice which he knows how to use in the Broadway style. Surprise participants are the 'Queen of the Soaps', Susan Lucci, as Constance, and veteran Fritz Weaver as her father. And another is Alan Arkin as Shorty.
But of course the main reason to hear this CD is those songs -- my goodness, they don't write 'em like this any more -- like 'Do, Do, Do', 'Clap Yo' Hands', 'Dear Little Girl' 'Maybe', the jazzy 'Fidgety Feet', and 'Someone to Watch Over Me.' All the lyrics are printed in the CD booklet.
I can't imagine anyone being disappointed with this recording.
Scott Morrison
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