Jane Eyre: The Musical (Original 2000 Broadway Cast) [CAST RECORDING]

John Caird (Artist), Paul Gordon (Composer), Bill Nolte (Performer), James Barbour (Performer), Marla Schaffel (Performer), Mary Stout (Performer)

Product Details

• Performer: Bill Nolte, James Barbour, Marla Schaffel, Mary Stout
• Composer: Paul Gordon
• Audio CD (November 21, 2000)
• Number of Discs: 1
• Format: Cast Recording
• Label: Sony
• ASIN: B000051Y31
• In-Print Editions: MP3 Download
• Average Customer Review: 4.5 out of 5 stars  See all reviews (135 customer reviews)
• Amazon.com Sales Rank: #27,148 in Music (See Bestsellers in Music)

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  Music > Broadway & Vocalists > Musicals > Contemporary Musicals

Editorial Reviews

Amazon.com

Here's another to join the parade of page-to-stage musicals inspired by 19th-century fiction. This ambitious adaptation of Charlotte Brontë's haunting classic Jane Eyre for the musical theater seems to be part of a trend represented most famously by Les Misérables. It also reflects the increasing pressure to schedule an original cast recording release as close as possible to a new show's Broadway opening: in this case, in fact, the CD was both recorded and released prior to the show's opening in December 2000 at the Brooks Atkinson Theatre. But what's most significant for the artistic character of Jane Eyre: The Musical is found in yet another pattern: like a number of his colleagues, composer-lyricist Paul Gordon comes to the project from a pop music industry background (best known for his hit "Friends and Lovers"). And quite a few of the show's numbers benefit from Gordon's catchy craftwork, weaving melodies that are clearly destined to be whistled long past curtain. Yet the effect is sometimes too facile, not diving as deep as we would like into the emotional predicaments of Brontë's characters. You begin to crave a more deftly defined and imagined variety of sound worlds (especially for the darker aspects of Thornfield Hall) than what is hinted at. Gordon doesn't forge any new paths, but his melodic fluency does have its moments of payoff--especially in the moving final duet "Brave Enough for Love," which is also strong enough to stand on its own.

Gordon's predilections as a would-be son of Sondheim are nevertheless clear, and he's telescoped the story into mostly effective lyrics, with some thoughtful juxtapositions of material. Most importantly, he understands that this is more than a Gothic romance, foregrounding the central message of forgiveness that Jane learns as a girl. He attempts to explore the injured sense of self shared by both Jane and Rochester and sets them on a painful, mutual voyage of discovery.

The creative team also includes the veteran duo John Caird (book and direction) and John Napier (scenic design), who have collaborated on such epics as Les Mis and Nicholas Nickleby (not to mention the Las Vegas Siegfried and Roy extravaganza). And the show's creators seem to share a vision geared toward the more operatic end of the spectrum (it was opera composers, after all, who early on claimed 19th-century Gothic fiction for the stage, as in Donizetti's Lucia di Lammermoor), with an actual parody of coloratura in one showstopper ("The Finer Things") given to Blanche Ingram. Fortunately, the two principals have large, richly expressive voices to encompass the large, complicated emotions of these characters. Marla Schaffel singswith unusual beauty and brings dimension to her Jane, while James Barbour (whose resumé includes Beauty and the Beast) is never really threatening as Rochester, but rather a tortured soul who is sweet-voiced even at his most cynical. Mary Stout is a stitch as the blustery Mrs. Fairfax. While the show has already undergone a lengthy evolution from its very first workshops, the viability of its final, fully staged realization has yet to be determined. But this cast recording conveys an authentic sense of the musical's atmosphere and emotional scope. --Thomas May

Customer Reviews

Most Helpful Customer Reviews

9 of 9 people found the following review helpful:

5.0 out of 5 stars A Soundtrack Worthy of Praise!!, November 22, 2000

By	Nathan Schultz (Rutherfordton, NC United States) - See all my reviews

This is an incredible soundtrack I must say! I have been anticipating the release of it ever since I recently heard the recording of the show from the La Jolla Playhouse. I must say, this surpasses the other recording! Beautiful orchestrations only add to already wonderful score that has been written. It is nice to know that it's possible for a clean show to be produced! This music has soaring melodies and star performances by the entire cast. I am so impressed how Marla Schaffel kept up with the score as did James Barbour. They make a perfect team and the recording is a beautiful blend of their voices. The only negative thing about this cd is the ommissions made from the other recording. The opening of the show as made on the La Jolla cd is fabulous as is the song where Helen dies. But, this is a must have cd for any Broadway musical lover! A clean, innocent, fabulously written with the music to set it apart from all other shows out there. Everyone, get this cd!!!!

8 of 8 people found the following review helpful:

4.0 out of 5 stars GOOD,STRONG AND SWEAPING NEW B-WAY SCORE, November 24, 2000

By	j.t. ross (CA) - See all my reviews

OK, let's all face the fact that musicals like this one are becoming a rarity. This musical does not remind me of Les Misarable at all. Maybe that is just because i have not seen the show, however it does remind me a lot of a very different and beautiful musical from the early ninties, "The Secret Garden." This score is crafted far too opereticaly to be compared to Les Miz or Miss Sigon; however, it is in no terms opereta. It is not a pop musical like "HYDE" or "PIMPERNEL" because it does not take the basic melodic way out of any of its songs. The score is complex and well crafted with beautiful new melodies that are perhaps what i would call "new broadway." What a concept to actually have a show that isn't bassed on popular trends or music. However, let me express that this may not be the greatest score of the new year. I have yet to hear THE FULL MONTY or SEUSSICAL which although are modern scores may be better. Jane Eyre does have an EYRE of desparate romance about it but at times it can feel snooty and a little cheesy. However, lyrics like "I'm still your flower, i'll just bloom elswhere" keep your longing for good songwriting satisfied. The music falls upon the ears with modern souds but not orchestrations leaving the older fans of broadway, who have come to hate being bambarded with synthesisers, happy.But this score is not old fashioned, and it will keep your ears (however old they are)happy for years to come.

7 of 7 people found the following review helpful:

5.0 out of 5 stars At last..., November 26, 2000

By	C. Wang (San Diego, CA) - See all my reviews (REAL NAME)

Ever since I saw the musical at the La Jolla Playhouse, I've been waiting for this CD to come. Although I'm disappointed at its omissions (such as "Let me be brave"--really good song), it's just as beautiful as I remembered it. My favorite songs are: "Forgiveness" and "The Graveyard" for their innocent, sweet, slightly sorrowful, and hopeful melodies. "Secret Soul" and "Sirens" for their passion. "The Finer Things," "The Pledge," "My Maker," (almost gospel-like)and "The Gypsy" (fun/exotic) are also good with their own distinct flavors. (Though after awhile, Blanche's very warbly/vibrating soprano is kind of annoying, but it fits the song and her character.) But my ultimate favorite is "The Proposal," because it has about three or four distinct moods, almost like different short songs all on the same track, all of which I love. As each part progresses, it grows from a light, uneven ryhthm to a more urgent, passionate crescendo (despite some patches of dialogue). Again, the music is beautiful. This musical is my all-time favorite.