Best Of 2009 – Kit Walpole
Posted By Ben W. on December 22, 2009
And now for something completely different…
My sister, Kit Walpole, is here with her Best Of list; her Best of Musical Theater 2009.
I am here to offer the best in 2009 Musical Theater recordings. Now I know that the words “musical theater” may conjure images of weird costumes, strange singing, and bad movie adaptations. But just as everyone reading this blog sifts through the pop music world to find the quality amidst the crap, I too, approach musicals with the same discerning eye/ear. I look past you, “Rock of Ages,” I ignore you, “Shrek the Musical,” and even shun you, “Billy Elliot,” to find something remotely original and dare I say, even good.
All of that being said, 2009 was not the best year. If I was writing this a year ago, I’d easily have a top 10 with a rich variety of cast recordings (“In The Heights,” “Passing Strange,” “[title of show]“), song cycles (“It’s Only Life”) and solo albums (“Audra! Kelli!”).
This year I have three. And four Honorable Mentions.
BRONZE MEDAL
“West Side Story” – New Broadway Cast Recording
There is absolutely no denying that “West Side Story” is hands-down one of the best (if not the best) musicals ever written. I have often been frustrated by recordings of the show that just aren’t the way I want them. This recording definitely delivers with clean, energetic performances. The addition of Spanish lyrics by Lin-Manuel Miranda (of “In The Heights”) is an interesting twist and is done tastefully. Josefina Scaglione (Maria) and Matt Cavenaugh (Tony) have lovely voices, as well they should, but it is Karen Olivo as Anita who really steals this show – or CD as the case may be. It’s a worthy interpretation of a true classic.
SILVER MEDAL
“Hair” – New Broadway Cast Recording
Prior to this year, I had one experience with the musical “Hair.” In a very strange episode of “Head Of The Class,” back in the ’80s, Mr. Moore decided to put the show on with his “special” class. What would they do? Would they be nude? Would the production be a success? They did the damn thing – and I think they did the nude scene. Ben would remember, I’m sure. (ed.: I don’t think they did that! But I do recall it was a blockbuster episode. Two-parter, for sure.)
From that, I must admit that I wasn’t terribly excited to hear this recent album. I am pleased to announce that I now have a much more favorable opinion of “Hair.” This recording is fantastic with some really outstanding young talent. The music and lyrics seem relevant in today’s climate in a way that I’m sure has not been seen or felt since the ’60s. The orchestrations retain that ’60s feel but also update the sound. What is most remarkable here is one Mr. Gavin Creel. His voice is just ridiculously agile. I would pay whatever God-awful price they are charging these days just to see him live.
Another note – the cast has been very proactive about participating in events and rallies all over the country for gay marriage and anti-war movements. Nice to see they’re trying to live the show.
Meanwhile, high schools should never perform this show. Bad choice, Mr. Moore.
GOLD MEDAL
“Next To Normal” – Original Broadway Cast Recording
In his Tony Award speech, lyricist Bryan Yorkey thanked the audience for taking a chance on an “Original Musical.” He’s right to thank them. In this age of epic movie/book/revival musicals, it is really, really tough for the little guy to squeak a show through. Particularly when your show is about a family torn apart by the death of a child – Mom is basically depressed and on lots of crazy medications and she sees the ghost of her dead kid throughout the show; father is trying to help mother; daughter is pretty crazy too and getting on the drugs; she sees the ghost too. Not exactly “Wicked” here…
But all of this is what makes it wonderful. The show is small with only about six characters. The music is angry and pretty and aggressive. You will not walk out from this show humming “I Whistle a Happy Tune” – you will probably need a tissue cause it’s just so damn sad. Tom Kitt is a composer who just hadn’t quite found his way yet – his recent “High Fidelity” came to Broadway and closed after a week. But here, the pieces are perfectly aligned. The orchestrations are lovely, the music is not overblown and the performances….oh the performances!
The cast here is pretty sick. Alice Ripley is a Broadway mainstay who had never found her “it” role. Well, she hits the gold mine here with the chance to play a woman who is crazy, depressed, and eventually lobotomized. Not too shabby – she got a Tony. J. Robert Spencer and Jennifer Damiano also turn in some primo roles. Then there’s our ghostboy Aaron Tveit. This dude will have a long, long career on the stage. He recently completed a stint in the new “Catch Me If You Can,” and basically he’s awesome. If you can really hear and feel someone’s energy through a recording, it’s a good sign. This guy is electric.
Root for the little guys! They turn out some pretty great stuff.
HONORABLE MENTIONS
“Glee”
Truth be told, my least favorite part of “Glee” is the musical numbers. They’re overproduced, oversung, and over-everything else. But how can I not give props to anything that’s bringing musical theater into the mainstream? In the last episode before the break, Lea Michele (from Broadway’s “Spring Awakening”) belted out “Don’t Rain On My Parade,” the fourth theater song to make it into the show, and thus onto iTunes. So well-done “Glee” – just try to make the musical quality a little better. I’m also pleased with anything that makes Matthew Morrison more well-known.
“Dr. Horrible’s Sing-Along Blog”
Neil Patrick Harris has become a strangely famous guy. He recently hosted the Tonys, the Emmys and is pretty much all over the place. In this bizarre little internet show, he is quite funny and has a pretty fine singing voice. More Doogie please!
“13″
Let’s give some credit where credit is due – Jason Robert Brown wrote a musical for 13-16 year olds. The cast was filled with awkward teenagers. What is most notable is he even filled the pit with awkward teenage musicians. So good for you, Mr. Brown. Unfortunately, it just wasn’t very good.
Last but not least…
Keep your eyes on Bret Michaels the whole time:
Sorry Bret. You deserve it for de-classing my always-classy Tony Awards. And “Rock of Ages” SUCKS.
Here’s to hoping that next year yields better results! Go see “Fela!”
– Kit Walpole
Our other expert picks:
No related posts.
Kit — I completely agree with your assessments, N2N is the best musical of the year, perhaps the decade. But I do want to correct a few N2N errors you make: The daughter (Natalie) never “sees” the “ghost.” The father does. Aaron Tveit’s character, Gabe, is actually not a “ghost.” He’s a delusion. Big difference. The mother does not get a lobotomy (which would be a pretty bizarre plot twist, both for her mental illness — bipolar — and for these times), she gets electric convulsive therapy — electric shocks. Also — not an error but an oversight — it would have been nice to mention Brian Yorkey. His lyrics are so insightful and moving and simply brilliant. Thanks.
Agree on Glee’s musical numbers. They’re cringe-worthy.
13 was awesome – filled with high energy, relatable lyrics and interesting characters.
I like any show that makes me think or feel emotion. No cutesy please. No little winky faces or fake vibratos.