Customer Reviews

Saturday Night (1998 Original London Cast)

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

 

 

My wife and I were lucky enough to attend the premiere London Bridewell production of SATURDAY NIGHT. To me, the 1998 recording captures the vibrancy and excitement of the Bridewell production. From what I see on this site, the main complaint seems to be the inauthencicity of the Brooklyn accents: so what? they seem good enough to me. I'm no great Sondheim acolyte, but I'm writing this after seeing Len Cariou and Judy Kaye in the 20th anniverary SWEENEY TODD at London's Festival Hall (13th February). Great production, but I don't think that anyone could descibe their lilt as nineteenth century Cockney.

Back to SATURDAY NIGHT; to me the CD is full of joy (I agree, however, that better sleeve notes are needed) and I can't see how anyone could disagee that songs like SATURDAY NIGHT, CLASS, EXHIBIT A and ONE WONDERFUL DAY are classic show tunes. WHAT MORE DO I NEED? If in doubt, buy it.

Mark Grainger.

While this score may not be everyone's cuppa, it's certainly a must for Sondheim fans, and a clear refutation of all the nonsense spouted about Sondheim being unable to write simple, sweet songs. The cast is a bit uneven (some of the brooklyn accents can grate), but the musical performances are generally excellent to this ear, and hearing these songs in one place (a couple of the songs have been previously released on different compilations) is wonderful.

The hugest problem with this CD is inside the case: NO LINER NOTES OR PLOT SUMMARY! C'mon, First Night! Unless you've read the original play, you'll get no idea of the plot for this show, and the songs don't give a full idea as to what the heck's going on.

Nonetheless, "Exhibit A", "Class", "What More Do I Need?", and "So Many People" are simply classic showtunes, and are fascinating for a study in the composer who would later completely abandon that style.

I was lucky enough to see this delightful production in London (which received rave reviews from the British press)and am pleased that the freshness and energy of the young cast is well caught on this recording. The voices are light and youthful with a subtle use of lyric that is so often a hallmark of British singers - it more than compensates for any inaccuracies in terms of accent. The songs are a real revelation in their original context - tuneful and inventive.

While I am a great admirer of Stephen Sondheim's work, I can understand why some see his work as cold, clinical, and misanthropic. (When I'm in a certain mood, cold, clinical, and misanthropic isn't such a bad thing.) Sondheim's scores make me think and often make me laugh, but they usually leave my heart untouched. That's why I found this score a pleasant surprise. For one thing, it, along with FUNNY THING HAPPENED ON THE WAY TO THE FORUM and A LITTLE NIGHT MUSIC, is among Sondheim's more TUNEFUL scores. Also, the air of misanthropy seems to be missing. The song lyrics are as smart as ever, but the show has a gentleness I find delightful. Exhibit A is brassy and acid; So Many People and I Remember That are sweetly romantic -- and the songs co-exist in a fine package. I liked it. A lot. So why only four stars? I agree with a previous reviewer who stated the voices were amateur quality. They couldn't destroy the charm of the songs, but the score does deserve better. Word of a Broadway opening for this show has reached me; hopefully that recording will do the score more justice.

While Sondheim has had his hits and flops, Saturday Night stands out as a middle ground. The score was started as one of his first only to be completed much later, but you can hear a battle between simplicity and complexity that seems to be the maturing Sondheim. The lyrics are of lesser quality than future Sondheim endeavors, but they are not bad. The singers on this album are fun but not quite as good as the singers in the Saturday Night (2000 Off-Broadway Revival Cast) cast. All in all, the whole CD is just fun. The differences between the two casts is minuscule and unless you are extremely picky about vocal quality it doesn't really matter which CD you get. I strongly suggest this for new and old, Sondheim fan or not. Its probably not one I will listen to often but it is certainly a nice one to have around. Favorite song: "Class"

There must be some irony in an Australian listener reviewing a 50's New York musical perfomed by an English cast!! Many of the songs are familiar from other compilations, and they are tuneful, witty and unmistakably Sondheim. It's a pity there is no synopsis of the action included in the CD. I doubt it will win any new fans to Sondhiem but it certainly is welcome to the devotee. I wish I could give it three and a half stars, it's better than three but not quite four.

Reportedly, Sondheim had major problems with this British premiere production of his first full-length musical. If this recording is a true reflection of the show, I can see why. With the exception of one or two voices, everyone is either consistantly flat or sharp, their delivery strictly amateur night. Sondheim's lovely, clever score deserves far better. For now, stick with Liz Callaway, Marilyn Cooper and others singing this material on other compilation recordings.

Marvelous early Sondheim songs. A must for anyone interested in the modern American theater.

While Saturday Night may not be one of Sondheim's best works, it certainly is not his worst. And even Sondheim's worst is good.

This musical - Sondheim's earliest work - stands on its own and his genius, even at such an early age, shows through. While some of the songs are not as good as others, generally the songs from the first half such as Exhibit A, Saturday Night, In the Movies, and Class shine brilliantly. And while this cast is not quite as good as the Off Broadway cast, I think both titles are worth having to compare against each other. All together, an above average to good album that will not disappoint.

Amateurish performance (not to be confused with "young".) On my way to becoming a Sondheim fan, this recording really holds me back a little. Looking forward to the new off-broadway cast.