Customer Reviews

Passing Strange

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"Passing Strange" is yet another outstanding new cast recording, following closely after the irresistible Tony-winner "In the Heights" and the edgy, off-broadway stunner "Adding Machine." I'm a happy musical fan right now-- all three will be on my list of the decade's best.

More than just being exemplary recordings of essential new scores, all three also represent completely different musical types-- put them together and you have a great showcase for how fantastically varied musicals are. "In the Heights" features catchy Latin-pop and rap, "Adding Machine" is an eclectic, rhythmic original, and here's "Passing Strange," the most authentic rock score since "Hedwig and the Angry Inch."

"Authentic" is, in fact, probably the best word to describe "Passing Strange." With music by Stew (who also stars as the narrator of this autobiographical piece, and won a Tony for the show's book) and Heidi Rodewald, this is the story of a black "Youth" (Daniel Breaker) who leaves behind his middle class background to set out on a journey of self-discovery. Although the character is a musician at odds with black stereotypes, who goes as far away as Amsterdam and Berlin on his search for the "Real," the themes, of course, are universal-- growing up, finding your niche, accepting yourself. It's all relayed with great feeling and humor by Stew-- his connection to the music is palpable, and indeed it's hard to imagine anyone else performing "Passing Strange." This is his story, and a glimpse into his soul.

And what a great collection of songs. One of the pleasures of the recording is how varied the songs are-- there's a stylistic jolt from track to track, from the rock-gospel "Church Blues Revelation/ Freight Train," to the haunting "Arlington Hill," the affectingly poignant "Keys," and the tour-de-force breakdown-in-song "Identity." That last one is performed so electrically by Daniel Breaker that it's hard to believe he wasn't handed a Tony for his efforts (he's excellent throughout). The recording also more than deserves its "explicit content" advisory--profanities and drug references abound (with highlights like "Amsterdam" and "Stoned," it's not hard to see why). Fantastic listening.

In 1972, Broadway presented a young prince who yearned desperately to find something "completely fulfilling" in life. That prince was Pippin, son of Charles the Great. He sought for meaning and fulfillment in higher learning, war, sex, politics, religion, art, love and other things. Though set in the Roman Empire in the 9th century, Pippin's quest for purpose was representative of Everyman. Now in 2008, that quest is refreshingly and satisfactorily undertaken by the "Youth" in the phenomenal new musical, Passing Strange.

Passing Strange is subtitled "The Stew Musical" because it presents a semiautobiographical sketch of Stew; the writer of the book and lyrics, co-writer of the music, and the narrator in this recording. Stew's journey, though particularly his own (a California man's search for himself through Amsterdam and Berlin), is also universal. The main character, Youth, is searching for something real, or more poignantly, THE REAL. Not unlike Pippin, his search leads to experimentation with church, drugs, sex, philosophy/rebellion, music, etc. Throughout his journey, every new interest ends up a passing phase. No matter how exciting at first, each ends in ennui. In his words, "She's serving every one of my desires on a platter, but it doesn't even matter anymore... Paradise is a bore." His mother's experience is the same, "Having a big ol' house should make a woman sing... But then you gotta live in it and that's a whole `nother thing." The youth's path leads him in a roundabout from epiphany and fervor to emptiness and confusion.

What's this life for? Perhaps the answer to this universal question is uniquely personal. I am reminded of another musical, the musical episode of Buffy the Vampire Slayer - "Once More with Feeling" (season six). Buffy finds herself struggling with life, yearning for something worth singing about. Spike's response, "Life's not a song, life isn't bliss. Life is just this: it's living." Stew sums it up this way: "The Real is a construct... It's the raw nerve's private zone... It's a personal sunset... You drive off into alone." As Pippin's narrator might have said, "Ta-da". Meaning, fulfillment, purpose... they are uniquely our own. So we live.

Beyond the meaning, the story is conveyed with wit, humor, and sincerity. Additionally, this production rocks! Stew, Heidi, and the band have nailed each number taking us authentically from a Holy Ghost Church service to angry punk to a German art-house and beyond. The band and actors all do a fantastic job - beautiful voices, cute accents, believable and touching portrayals. It is even more amazing when considered that this recording is a live performance. Passing Strange succeeds brilliantly both musically and narratively.

When I saw "Passing Strange" last May, I left feeling that I had just witnessed something new (& even amazing), but couldn't really summarize my impression and wasn't sure if the piece was meant for Broadway. The cast members, led by Stew and Daniel Breaker, were all excellent.

The score is fresh, but only a couple of songs, "Keys" and "Amsterdam", seemed memorable at the time. Upon repeated listenings of the cd, however, many others jumped out as well. Feels more and more like a a great rock record. Terrific!

Best Songs:

Amsterdam
Keys (Marianne)
Keys (It's Alright)
We Just Had Sex
Come Down Now
Love Like That

I was one of the lucky ones who got to see Passing Strange while on Broadway in New York. What struck me about the show was that this is unforgiving rock and roll. It never slips into "Broadway" like most other rock shows do. The story line is moving and the music is just amazing. I listen to it over and over and over. Even if you don't know the play, the music is just fantastic and you get a clear understanding of the story line just through the lyrics. MY FAVORITE CD OF 2008.

While Rodgers and Hammerstein and Andrew Loyd Webber are booming on Broadway, some interesting new voices are being heard and Stew is among the best. The style is contemporary and should be heard by everyone, but unfortunately the show had to clsoe because business is business and not enough people showed up to support it. Their loss, but you can get a feel for this exuberant score from the excellent cast recording.

I was lucky enough to go to a show of Passing Strange--and be present at the recording of this CD. The music itself is a fantastic blend of genres--Stew and Heidi Rodewald evoke everybody from Kurt Weill to the Sex Pistols--and the story, the portrait of the African American artist finding himself in 1980s Europe--resonates for all of us. We all have to leave someone, some identity behind to grow up, and the result is often complicated and messy. The performers are both terrific singers and great storytellers. Don't miss this show if it comes to your town; in the meantime, remember, "Miracles are commonplace when you're on holy ground."

"Passing Strange" defies all musical theater dictums and is actually a recorded performance of what was really more of a concert than a traditional Broadway musical. So what's wrong with that? There have been a lot of complaints on both sides of the fence about "Passing Strange", i.e., that it's "rock" and doesn't belong on a Broadway stage, or that Broadway music is dead and this is so much better. Well, both sides miss the point. More challenging yet just as necessary as the more accessible "In the Heights", these two companion pieces make a strong case for a broader musical theater palette. Theater is a living, breathing thing and without those who push the boundaries (and those who are willing to accept that) it becomes an antiquated art form.

While Stew's music has neither the sophistication nor the complexity of Lin-Manuel Miranda's score for "In the Heights", it's raw urgency is both startling and immediate. True, there's no attempt in his work to adapt to the musical theater idiom, but he shouldn't have to. That's not the point and it would defeat his purpose, which is to present something utterly personal that is also universal. Not so surprisingly, many of these songs are just as listenable, albeit in a different context, than anything on Broadway these days. "Church Blues...", "Arlington Hill" and "Keys" all have moments of beauty, while "Identity", "Amsterdam" and "Love Like That" are powerful statements of longing and discovery. The cast, headed by Stew himself, is terrific. Tony nominee Daniel Breaker, a true star-in-the-making, is the heart and soul of this recording and he deserves to be heard from again soon. He is supported by the marvelous Rebecca Naomi Jones and an ensemble that includes Chad Goodridge, Colman Domingo and Elissa Davis, all of whom acquit themselves nicely.

"Passing Strange" may not be for everyone, but it deserved a longer life on Broadway and will hopefully find a broader audience in some other permutation. For anyone who loves musical theater and the future of musical theater, it's worth a listen.

:Passing Strange" is the most inventive, brave, and brilliant thing to hit theater (Broadway or otherwise) in a long time. This forum is in fact far too limited for a proper consideration of the overall work. Suffice to say, however, that the music alone is extraordinary. -- Though it is billed as a "rock musical," (and others with the same label don't even deserve to be called true "rock"!), the music of Stew and Heidi Rodewald is rich, melodic and complex (The show was ROBBED of the Tony for best original musical score (An outrage!). The lyrics, too, will give you a flavor of the irreverent wit of the play (genius!). I'm sure all fans of the show are, like me, grateful to finally have this album so that we can take a bit of the show home with us.

This is by far one of the most creative plays to hit Broadway. Doesn't hurt that it was incubated at Berkeley Rep (UC Berkeley, Berkeley CA). The writing, music and energy of this creative endeavor are phenomenal. I could hard sit still while watching -- I wanted to dance (and sing) along. Funny, witty and just plain fun. Thank you Spike Lee for putting this on film. I'd never have experienced this if you hadn't thought it so wonderful you shot it 3 times through to get the footage you needed to show this play in its true light. Thanks to Stew and Co. for an amazing, high-energy performance. I watched in awe and wished I'd had your talents. This play (and Stew) SO deserved Best Book Tony award!

Saw this on broadway in the Spring of 2008 and really didn't know what to make of it until about halfway through Act One. This poetic and beautiful, coming-of-age journey speaks to so many struggling artists and asks so many important questions.

Stew's music is ROCKIN and although, at times, can be a little repetitive is incredibly enjoyable.

Best tracks include: Stoned, Mom Song, and We Just Had Sex (hilarious)

A definate must for showtune collectors!