Customer Reviews

The Wild Party

5 star:		(50)
4 star:		(11)
3 star:		(8)
2 star:		(3)
1 star:		(6)

 

 

I just recently purchased this CD and was instantly blown away by the music and the TREMENDOUS singers. The cast of 19 features some old faces as well as new. Brian D'Arcy James (Barett of TITANIC) potrays Burrs, the Vaudeville clown involved with Queenie, potrayed by fabulous newcomer Julia Murney. Kate, the prostitute, who longs for Burrs is played by familiar face Idina Menzel (Maureen of RENT) Kate's date for the WILD PARTY is Black, who instantly becomes entranced with Queenie's beauty and sadness, is played by rising star Taye Diggs (Benny of RENT, HOW STELLA GOT HER GROOVE..., GO). Other notable party goers include Alex Kori (who stood by for B. Buckley in TRIUMPH OF LOVE), Raymond Jaramillo McLeod (Peron in National Tour EVITA), and Jennifer Cody (Silly Girl of BEAUTY AND THE BEAST, Cha Cha of GREASE)

All the songs are phenomenal and energetic. Everyone here is a triple threat. The singers are sensational. I couldn't believe my ears on some of the belting harmonies that occur. Julia Murney, just absolutely steals the show. Her powerful voice can be compared to the DIVA, Alice Ripley! The shear power and emotion behind Julia's voice in songs like "Out of the Blue" "Maybe I Like It That Way" and "How Did We Come To This" is just incredible. Playing her opposite is Brian D'Arcy James, who does not upset at all with his maniacal "Make Me Happy" and a more tender "What Is It About Her?" His voice is strong, clear and powerful, and gives us a nice earful of his belting ability.

Taye Diggs sings his smoothe and sultry songs, his character seems to be the only one who feels anything. He is very distraught over what is going on between Burrs and Queenie. Idina Menzel knocks us dead once again with her powerful, jazzy, rock voice that she displayed in RENT. She's sassy, she's cute, she's sexy, she's Kate who loves to have a good time, a boy does she! "Look At Me Now" and "The Life Of The Party" definitely give Idina her glorious moments to belt her little heart out, not to mention her growls! Also in one of the chorus songs, where they all belt these harmony notes, Idina tears through, and out blasts everyone!

Alex Corey plays Madeline True, a lesbian party goer. Her solo "Old Fashioned Love Story" is a riot and a half, not to mention a belt fest. (Dang, what song ISN'T Belted on this CD? :)

By just listening to the CD it is kind of hard to follow the story. There is a synopsis included, for those of us who haven't seen the show, and don't know the story line. There are also lyrics, and some quite beautiful "CABARET"ish photos inside. This CD is definitely worth it, especially for those of you who love DIVAS and DIVA, BELT shows like (DREAM GIRLS, SIDE SHOW and ROCKY HORROR SHOW). By one minute into it, I bet your leg'll be tapping!

Wow. The life of this exuberant and passionate WILD PARTY has translated so well to CD. Having seen the show at Manhattan Theatre Club earlier this spring, I can tell you that this recording is simply amazing. The voices are tremendous, especially Julia Murney (Queenie), who's heartbreakingly expressive as she sings "Maybe I Like It This Way" and lights a diva fire with "Raise the Roof". Idina Menzel (Kate) rocks the house with "Life of the Party" and "Look at Me Now." Brian D'Arcy James voice is completely magnetic as he portrays of Burrs, Queenie's abusive lover -- when he unravels during "Let Me Drown" (those of us who saw the show) you know this was one of the great moments of this year's theater season. Taye Diggs played Black -- and his voice is just a slice of heaven! When these four sing "Poor Child" -- it's mesmerizing to hear their voices weave over one another as they express their different points of view. The number is vaguely operatic, yet completely accessible.

The CD has almost every number from the show (with the exception of one song, I think) -- and you can pretty much follow the story by listening along. Of course at some point, you'll probably feel like hitting your kitchen dance floor on ensemble numbers like "Wild, Wild Party" or "The Juggernaut"!

What more can I say? These are real songs that stick with you, long after you've left the theater or turned off the stereo. This is stuff you want on full blast at your own Wild Party! Enjoy!

It's very hard for me to give this album less than 4 stars. For a long while, it's been in perpetual rotation on my iTunes, and right from the start it's been one of my favorite cast albums. But a few days ago, I listened to the entire record straight through, and came to a painful conclusion -

Andrew Lippa is a terrible lyricist. I mean, really, not just bad, terrible. "Tasty, like birds of prey 'round the hors 'oeuvres tray"? "Will he really die for you, or is that just the after-dinner show"? "Let's get out there and tear up the carpet-mat"? Taken out of context, they may seem a little out of wack, but when set to music, the effect is uncomfortable - Lippa's fond of sacrificing logic for the sake of matching rhythm and rhyme. I simply can't take Brian D'Arcy James seriously when he's belting "HE WAS A VERY SCARY CLOOOOOWN!" at the top of his lungs.

Which brings me to the selling point of the record - actually, the two selling points. One is Lippa's score. Holy Christ, the music NEVER lets up here - it gets the pulse pumping, the heart racing, and it makes you want to reach out and grab the nearest seven people for a night of debauchery. Lippa's pastiche of hot jazz, funk, gospel, pop and rock, while not exactly period-appropriate, is endlessly fun to listen to. And the extreme vocal demands of the score are more than matched by the cast. Julia Murney belts ALL of her songs right out of the park (and I do mean all - Lippa writes songs for women more or less in dog's-ear range), Brian D'Arcy James' clear tenor constantly astonishes with its range while expressing a huge display of emotion and character, and Idina Menzel gives everything she has to her showcase numbers, growling and screaming and generally setting the mic on fire. Even the secondary characters are great - Alix Korey is endlessly funny with one of Lippa's more clever lyrical turns in "Old-Fashioned Love Story", Raymond Jaramillo McLeod is charming and lovable in his duet with Jennifer Cody, and the ensemble lends their powerful voices to various parts in the group numbers. The only one who strikes a sour note is Taye Diggs - he's either too monotone and flat, or indulging in pop-diva histrionics in place of emotion.

If you're not bothered by awkward turns of phrase, this is an unmitigated purchase. Even if you're big on lyrics, you should still give this recording a try - it contains some of the most genuinely exciting music written for theater in the past ten years, socked over by an obscenely talented cast.

It shouldn't be a slur to point out that this was the more lightweight of this season's two WP musicals. Where Michael John LaChiusa's version succeeded by grounding the story in the context of the twenties (including the characteristic sounds), Andrew Lippa's just sets out to have a darn good time. And that it does. While the tragedy of the story is not underplayed (indeed, it's really vivid in the lead performances of Julia Murney, Taye Diggs, Brian D'Arcy James and Idina Menzel), there's an irrepressible optimism bubbling away underneath it, palpable in such numbers as "Raise the Roof," "A Wild, Wild Party," and Alix Korey's outstanding solo "An Old-Fashioned Love Story".

Given that the more reflective numbers are just as memorable (with "Maybe I Like it This Way," "What Is it About Her?" and "How Did We Come to This?" the standouts), this is one dazzling disc. Much of the score is omitted to fit a single CD (most of it recitative and dance music), but those unfamiliar with the show shouldn't notice a thing.

And who'll be able to resist playing the two PARTYs back to back?

Already a fan of Andrew Lippa's exquisite "john & jen," I knew that he was a gifted composer. But I don't think anything could have prepared me for the blazing score that is "The Wild Party." If more composers and lyricists had half of Lippa's gift for melody and lyrics, his energy, and his enthusiasm, musical theatre would have the same vibrancy it did in the so-called Golden Age of Broadway. Lippa is definitely a force to be reckoned with, and as long as he continues to work in musical theatre, we who are fans of that art form will have much to enjoy and savor. I would even go so far as to say that Lippa may be the true heir apparent to Sondheim: this is a score that not only entertains and delights, it is also provocative and intelligent.

Lippa's music is endlessly brilliant. These are songs that get my adrenaline pumping, and make me want to get on my feet and dance. I play it in my car and find myself pounding away on the steering wheel and dashboard, accompanying the rhythms that drive and invigorate the music. These are melodies that are instantly memorable, burning themselves into the brain as soon as they are heard. Michael Gibson's orchestrations are delightfully funky and idiosyncratic -- I mean, electric guitar in a roaring 20s musical? -- and are the perfect complement to Lippa's music.

His lyrics are entertaining and playful, and rest easily on the music -- repeated listenings aren't necessary to understand and follow the lyrics. The standout song lyrically is, for me, 'An Old-Fashioned Love Story,' it is at once hysterically funny and wistfully sad.

The pacing of the songs is impeccable, no doubt due to Lippa's book, with great balance between full-throttle beltable songs and quietly reflective songs, and as a result the listener is not worn out by too many high energy songs in a row. Lippa also wisely keeps the focus on the four central characters, only occasionally drawing attention to the supporting characters. At the same time, these supporting characters aren't two-dimensional -- they are given their due in the ensemble numbers, but only rarely are any of them given their own numbers. I am reminded of Sondheim's focus on George and Dot in "Sunday in the Park with George."

Along with "The Secret Garden," this is the best ensemble work I have heard. The four leads -- Taye Diggs, Brian d'Arcy James, Idina Menzel, and Julia Murney -- are all gifted with gloriously expressive voices, at once belters and character singers. Their quartet in 'Poor Child,' is perfectly balanced, their voices weaving in and out of one another's, creating an astounding vocal tapestry. The other performers who are given solo work, especially the showstopping Alix Korey as Madeline, are equally as brilliant as the leads. And when the entire company is singing -- most notably in 'A Wild, Wild Party' -- the result is nothing short of electrifying.

In "The Wild Party," Andrew Lippa has not only created an ectrifying and memorable score, he catapaults to the forefront of the up-and-coming generation of composers. Adam Guettel, Michael John LaChiusa, and Jason Robert Brown, as good as you guys are, watch out: Andrew Lippa has finally arrived, and as long as he continues in musical theatre, you three have incredible competition.

Unfortunately, I haven't had the chance to see this musical, so I can only review it from what I hear and what I know of it.

This CD is musically great. It's fun and energetic, abounding with catchy melodies. The lyrics are playful and creative, especially in songs like "Two Of A Kind" and "An Old-Fashioned Love Story" (which is probably one of the best songs on this CD). Idina Menzel shows off some of that belting voice we got a taste of in RENT in songs such as "Life of the Party", a great character number.

Unfortunately, this musical seems to suffer from a number of major problems. Reading the synopsis, it appears that too many songs do not move the plot along but are there simply because. Songs like the amazingly catchy "Wild, Wild Party" and "The Juggernaut" seem to have little to do with story and, in my opinion, are theatrically useless, despite being great numbers filled with energy and excitement. If Lippa tried harder at incorporating the songs into the plot, it would've been far more effective.

As far as the performances go, this recording is brilliant. The actors and actresses are all incredible, especially Taye Diggs and Idina Menzel, both of whom show that their talents can go beyond the limits of RENT. Menzel's singing is so full of energy that her songs alone are worth the price of this CD. Taye Diggs has a beautiful voice, one that he never really got to showcase in RENT. His "I'll Be There" is powerful and touching, emotions that might've been lost with another singer.

All in all, this is a highly enjoyable CD that deserves to be on the shelves of all theatre-lovers. Now if only Lippa would fix some of those plot problems...

In 2000, there were TWO new (and very different) musicals based on a 1928 poem about an evening of decadence: Michael LaChiusa's Broadway "version" (starring Mandy Patinkin, Toni Collette & Eartha Kitt) and Andrew Lippa's Off-Broadway "version". Mr. Lippa's version clearly outshines the other.

With a remarkable cast, including Julia Murney, Brian d'Arcy James ("Titanic", "Sweet Smell Of Success"), Idina Menzel ("Rent", "Wicked"), and Taye Diggs ("Rent"), this musical character-study is powerful, with a terrific score!

Best tracks include:

Out Of The Blue
Poor Child
An Old-Fashioned Love Story
Maybe I Like It This Way
What Is It About Her?
The Life Of The Party
Let Me Drown
How Did We Come To This?

This version would probably have lasted much longer on Broadway than the more "artful" LaChiusa production. Too bad it didn't have a broader audience. At least we have this cd!

I was hesitant to buy this album because I was told it was a bit raunchy and not well done. I'm still kicking myself for not buying it sooner.

Lippa's "The Wild Party" has quickly risen to my top five favorite shows. The score is outstanding (who CARES if it doesn't consistently fit the time period), the lyrics are entertaining, and the cast...oh, the cast. I admit I bought it for the Idina Menzel factor, but after listening through it, Idina takes a backseat to the outstanding vocal performance of Julia Murney.

Julia Murney, as others have said, is a POWERHOUSE. Not just in the heavy-hitting songs like "Raise the Roof", but in every song she sings. It's dumbfounding. Since then I've seen her perform live, and I must say that the woman is a superb actress- you can tell even by her singing.

It is unfortunate that this show released the same year as LaChuisa's "The Wild Party" on Broadway, but that doesn't mean it's lower caliber by any scale. In fact, I prefer this show. The reviewer who compared Sondheim to Lachuisa and Larson to Lippa was on the right track. Though I would suggest that if you like "Chicago" or "Wicked" at all, you'll probably like this version. It is a lot more fun and the songs are top-notch.

All I can say is BUY THIS ALBUM. I can't imagine anyone regretting it.

I personally own both recordings of THE WILD PARTY: this version, as well as Michael John LaChiusa's. I feel that this recording is the weakest of the two. While some of Lippa's material is outstanding ("Lesbian Love Story" especially) I have problems with the warbling vibrato of the leading lady. Brian D'Arcy James is outstanding as Burrs, and gets my vote as my favorite performer on the disc. My major problem comes with the manner in which the musical was scored. I have problems getting into the feel of the 1920's when there are electric guitars EVERYWHERE throughout the accompianment. What was up with that decision? The Michael John LaChiusa recording of THE WILD PARTY is far more authentic with the style and "feel" of the roaring twenties and prohibition. While this is a recording to have, you will find yourselves much rather selecting LaChiusa's score to choose for a listen.

I had high hopes for this recording after falling in love with Lippa's other recorded work, John and Jen. I had the chance to see the LaChiusa Wild Party first (missed this production entirely) and had fallen in love with it. Perhaps that love has colored my opinion of this recording, but it falls flat for a few reasons. The ultimate reason the show isn't as thrilling as LaChiusa's WP or Lippa's John and Jen is that the score is very derivative. LaChiusa masterfully blended his own unique style with sounds of Weill, Gershwin, and other vaudeville sounds and gags. Lippa, hoping to create a more Broadway sound, blends his score with Rent and Chicago. Chicago worked well with its score, but to create a derivation from a derivation removes Lippa's WP even farther from the period. Add to that traditional Broadway belt-tunes and the ocassional Rent-fuled guitar solos and you have something that hasn't decided what it wants to be: is it representative of the period, or is it trying to be outside the timestream? Ultimately, it confuses and confounds with its inability to pick a style and stick with it.