Road Show [Cast Recording]

Stephen Sondheim (Composer), John Weidman (Performer) | Format: Audio CD

Product Details

• Performer: John Weidman
• Composer: Stephen Sondheim
• Audio CD (June 30, 2009)
• Number of Discs: 1
• Format: Cast Recording
• Label: Nonesuch
• ASIN: B002CAOE1W
• In-Print Editions: MP3 Music
• Average Customer Review: 3.5 out of 5 stars  See all reviews (21 customer reviews)
• Amazon Best Sellers Rank: #82,281 in Music (See Top 100 in Music)

Editorial Reviews

Nonesuch Records and PS Classics release the original cast recording of Stephen Sondheim and John Weidman's Road Show - from last year's Public Theater production. Directed by John Doyle, the score was conducted by Mary-Mitchell Campbell and orchestrated by Jonathan Tunick. Recorded in New York City earlier this year, Road Show features Alexander Gemignani (Addison Mizner), Michael Cerveris (Wilson Mizner), Claybourne Elder (Hollis Bessemer), Alma Cuervo (Mama Mizner), and William Parry (Papa Mizner) and was produced by Tommy Krasker. Nonesuch released the cast recording of an earlier incarnation of Road Show - Bounce, also created by Sondheim and Weidman - in 2004. Spanning 40 years, from the Alaskan Gold Rush to the Florida real estate boom in the 1930s, Road Show is the story of two brothers whose quest for the American dream turns into a test of morality and judgment that changes their lives in unexpected ways. Director John Doyle (Sweeney Todd and Company on Broadway), acclaimed for re-imagining Sondheim's works, joins Weidman and Sondheim in exploring two of America's great issues: capitalism and crooks.

Most Helpful Customer Reviews

47 of 54 people found the following review helpful

2.0 out of 5 stars Marginally better than Bounce July 5, 2009

By E. Chris Caggiano VINE™ VOICE

Format:Audio CD

A new recording of a Stephen Sondheim show is always a reason to, if not celebrate, at least pay attention. And when the show itself is new, or at least contains a significant amount of fresh material, even better. So, although Road Show could not, in the strictest sense of the word, be called new, it does represent a chance to witness the latest work by our greatest living composer and lyricist.

As you may know, Road Show is the most recent version of a musical that Sondheim and librettist John Weidman have been working on for years. In fact, the score has already been recorded, under the title Bounce. Which means that we musical-theater mavens now have a terrific opportunity to compare the two recordings and witness how the show has developed over time.

Of course, the experience would be that much better if the show itself were any good. Alas, it is not. In comparing the two recordings, it's clear that the show has improved greatly since its out-of-town tryouts in Chicago and Washington, DC. Most of the changes and cuts have been for the better. But ultimately Road Show will likely take its place alongside such fascinating Sondheim failures as Anyone Can Whistle and Merrily We Roll Along: musical works that have a tremendous amount going for them, but somehow never have, and never will, work as shows.

As is true with most Sondheim scores, repeated hearings of the Road Show recording have revealed a great deal of substance and subtext. I was particularly struck by Sondheim's use of leitmotif, or in this particular case contrafactum: the songs "Gold" and "Land Boom" share the same melody, as do a few other sections of the show that all connote some sort of persuasion or salesmanship.... Although most of the show's ballads remain colorless and dull, Sondheim has tuned up considerably the show's uptempo musical sequences, including "Addison's Trip" and "I Love This Town," which here becomes the rousing "That Was a Year." There have also been a number of wisely excised numbers in the transition from Bounce to Road Show, including "Opportunity," "What's Your Rush," and "Next to You."

But I'm still left with the same overall impression I had when I saw the show at the Public Theater: that this is a show that must have seemed compelling on paper, but that fails to bring its characters and subject matter to sympathetic life. (Read my review) The key problem with Road Show is that we don't care about these people. I watched the show and listened to the CD with academic interest, but I never found myself actually feeling for anyone, despite the cast of theater pros, led by Alexander Gemignani and Michael Cerveris.

Of course, Stephen Sondheim could stop working entirely and still be the most important figure in musical theater of the past 50 years. His contributions to the form have been immeasurable, both in terms of his own professional output and his influence on other creators. How fortunate we would be if he could someday create another show on par with his best. If not, his rich and ample body of work remains to satisfy and inspire for generations to come. Read more ›

24 of 27 people found the following review helpful

5.0 out of 5 stars Polished, trimmed and sensible July 8, 2009

By Elizabeth

Format:Audio CD

I find Road Show to be an enjoyable listen. Considering only the liner notes' synopsis and the recording, the show feels more coherent than Bounce, making it easier to understand and follow without seeing on a stage.

In this (definitive) version, the melody of "Bounce" with new lyrics, and a song used in an earlier version of the show, "It's In Your Hands Now" (the melody from a cut Assassins number "Flag song") open the show. While reusing compositions is an unheard of Sondheim practice, I don't think it is an issue in this instance."Waste" with its 'bouncy' melody (no pun intended) and ironically grim lyrics create this humorously awkward moment which I think sets the tone for the show. "It's In Your Hands Now" is now also a more appropriate 'deathbed number' than "Opportunity", and like the opening number sets the precedent for the show that follows. William Parry's bass-baritone delivery of the song is also powerful and moving, and like his relatively small performances in Sunday in the Park with George, Assassins and (to a lesser extent) Passion I think he greatly adds to the show. This is my favourite performance.

"Brotherly Love", a song added specifically for this version, contributes to the coherence of Road Show, the insight of the Brother's early relationship makes it easier to understand how it changes (or doesn't change) throughout the show. As for the performances themselves, I think Alexander Gemignani and Michael Cerveris do a fine job singing and reading their lines - are funny at appropriate moments and sincere at others - nothing particularly groundbreaking or exceedingly better than their Bounce counterparts, however....

"The Best Thing That Has Ever Happened" is, not surprisingly, a high point in the show and I'd imagine it will popularly become what the show is known for. "You", "Talent", "Get Out/Go" and "Addison's Trip" are other highlights for me.

Like many of Sondheim's scores you can expect clever lyrics, and repetition and underscoring with dramatic significance.

Perhaps the only thing to miss from the "Bounce" recording is the orchestrations which feel thicker at times. I think "The Best Thing That Has Ever Happened" would have gained a lot from the strings section in the Bounce version, though an argument against this would be it reduces the intimacy of the new version.

Though I rated it a 5, I wouldn't claim the album is as a special as other "5 star" albums such as the Sweeney Todd or Company OBCs, but I find it charming, enjoy every number, and am impressed by the presentation of the album; the booklet with lyrics, photos and some history of the show.

Thankyou PSClassics for recording this! Read more ›

10 of 11 people found the following review helpful

4.0 out of 5 stars Its Sondheim..but not at his best. July 12, 2009

By N. Wo

Format:Audio CD

I am a Sondheim fanatic, so I'm pretty surprised that this is not a 5 star review (most of his other shows would get 5 stars). This show seems to lack any real character depth or real interesting story line. I saw this show when it was named "Bounce" in Chicago and it seemed a bit more focused on the brothers, as this version seems to focus on the "American Dream" a bit more. Great score as well. If your a Sondheim fan don't expect "Sunday", but it's still a great listen. I will take any Sondheim I can get at this point!

2 of 2 people found the following review helpful

3.0 out of 5 stars Good show, less-than-brilliant score May 12, 2010

By Lou Ford

Format:Audio CD

I had a great time seeing ROAD SHOW on stage: Alexander Gemignani gave a moving performance in the lead role; the design of the show helped convey its challenging themes (and who but Sondheim and Weidman could write a touching musical about the power of capitalism in America?); it was a relief to see a gay love affair in a musical that was not ended by one partner's death. But listening to the OCR was a little depressing. There are maybe four great songs; much of the rest is so derivative of SJS's earlier work that I found myself singing lines from ASSASSINS and MERRILY WE ROLL ALONG and SUNDAY IN THE PARK WITH GEORGE to the tunes, where they fit perfectly. There are songwriters to whose work one goes for the comfort of familiarity, but Sondheim has never been one of them.

4 of 5 people found the following review helpful

4.0 out of 5 stars From Bounce to Road Show September 12, 2009

By Douglas Meny

Format:Audio CD

To me Mr Sondheim is a genius, and I am so glad that I am alive while he has been writing his wonderful musicals. I flew out to Chicago to see Bounce when it first opened at the Goodman Theater, and I enjoyed it very much. I especially loved the score. There were problems with the book, but it was a work in progress. When it moved to the Kennedy Center, I again went to see it, and enjoyed it a second time. However, the reviews didn't warrant it coming into New York the way it was at that time. As he has done numerous times before, he kept working on it. Happily, the Public Theater decided to do the reworked version which had now been retitled Road Show. I looked forward to its opening, and I think they did they did a lot of good work on it, and it was a very different show than Bounce, but I liked it very much. Above and beyond anything, was the score. Some of it was reworked from Bounce with new lyrics, and some was brand new. If you are a musical comedy fan, and especially if you are a Sondheim fan, you should have both Bounce and Road Show. I love them both, and both recordings are great. "The Best Thing That Has Ever Happened" is one of my favorite Sondheim songs, and the use of the song in both versions is totally different, and I really love them both and am so happy I have them both. Buy Road Show, and then do yourself a big favor and buy Bounce if you don't already have it. I think you will thank me.