Tag: Kate Baldwin

“I Do! I Do!” at the Westport Country Playhouse

“You chew in your sleep.”

There is just something about that line from “Nobody’s Perfect” from the first act of I Do! I Do! that never fails to crack me up. When Michael and Agnes, the couple at the musical’s center list their complaints about the other, this particular one comes entirely out of left field. It’s unexpected, but is met with a big, knowing laugh as it is the sort of minor character trait to drive a spouse or significant other up the wall. It’s just one of the many relatable moments in the tender musical. And it didn’t fail to make me laugh out loud last Saturday when the newly minted KBG (Kate Baldwin Gang – including yours truly) invaded Connecticut to see the show at the Westport Country Playhouse out in Connecticut (our first visit to the esteemed regional theatre).

The theatre is housed in a converted tannery which has housed many estimable productions. Come Back, Little Sheba and The Trip to Bountiful received their world premieres at the house. Its 1940 production of Lynn Riggs’ Green Grow the Lilacs, directed by John Ford, was the inspiration for the Theatre Guild’s eventual musical adaptation of the play (a little thing called Oklahoma!).

We arrived in Westport at 5:30 and were immediately taken with the theatre’s exterior: this “red barn” both large and  warmly inviting. After getting our bearings, we made our way next door to the Dressing Room, a homegrown restaurant started in 2006 by chef Michel Nischan and the late, great Paul Newman, who was a great champion of the Westport Playhouse. Everything on the menu is local, natural and organic and might I add quite delicious (the mac and cheese came with cured pork, ’nuff said). The pleasant experience spilled over into the theatre lobby as we scanned the production stills and window cards on the walls, amazed at the major theatre and film stars who had worked at the Playhouse. After some a minor farce regarding our seats just as the show was starting, we settled into the center orchestra of the gorgeous theatre for the show. (We didn’t realize we had different seats; the house staff was nothing short of patient and helpful).

I Do! I Do! is a two person musical based on Jan de Hartog’s The Fourposter, a portrait, or perhaps more appropriately, a crocheted sampler of a 50 year marriage. The action is set entirely in Michael and Agnes’ bedroom, as they sing and dance their way through the moments, great and small, which define wedded life. The show opened in 1966 starring Mary Martin and Robert Preston. It was a bit unusual at the time: a big Broadway musical with a cast of two and a unit set. Producer David Merrick liked the idea because it was cost effective. Reviews were strong and the show ran 560 performances, winning a Tony for Preston. The show also offered the gentle ballad “My Cup Runneth Over,” which became a pop hit for Ed Ames. (The song also sent the older audience into a tittering frenzy of recognition at the top of the second act, much to our amusement).

Kate Baldwin and Lewis Cleale are headlining in this sparkling production directed by Susan H. Schulman and choreographed by Michael Lichtefeld. Kate, fresh from the Menier Chocolate Factory’s Paradise Found and a Tony nomination for Finian’s Rainbow, is nothing short of captivating as Agnes. This performance is just another rung on the ladder to her inevitable musical theatre super-stardom. There is a strength and tenderness to her Agnes, which is thrillingly sung and exceptionally acted. Ms. Baldwin radiates with that same effusive presence which made a stage legend out of Ms. Martin.

Cleale is a perfect foil, tenderly romantic and consistently hard-headed. Michael isn’t the greatest husband, but Cleale imbues him with such humanity that even at his worst (and oh, Michael can be a real bonehead), it’s impossible not to care for him. Their chemistry is infectious and playful. One of the high points of the show comes in the second act toetapper “When the Kids Get Married” in which she plays the violin and he the saxophone – quite badly (and complete with a shave-and-a-haircut ride out). I have to admit I just sat there for two hours, smiling unabashedly. If there was a flaw in the evening’s performance, it was lost on me. This I Do! I Do! is utter charm from start to finish.

It’s a period piece, so some of the sensibilities feel a bit dated but it doesn’t detract from its smartly constructed book and lovely score. Wilson Chin’s unit set perfectly complements both the piece and the production, with some truly striking period flourishes. Devin Painter’s costume design is period perfect; especially in Baldwin’s period costumes. This production utilizes the two piano reduction created for the 1996 off-Broadway revival, and it fits the piece and the venue quite well. I know it seems unlikely, but I wouldn’t object if this production came to NY. Due to popular demand, the show has been extended through September 4 and believe me, you don’t want to miss this one. Oh – and Westport is now definitely a place I want to revisit, again and again.

Kate Baldwin at Birdland


It’s no secret that I am a fervent admirer of Kate Baldwin. From Finian’s Rainbow to her solo album to her debut at Feinstein’s last December, I have been impressed by the singing actress’ charm, poise and quirky sense of humor. And that’s to say nothing of her rangy, versatile soprano. When SarahB asked if I would be interested in seeing Kate at Birdland, it didn’t take me long to say yes. I didn’t care if the evening was an encore of her December show, I could listen to Baldwin sing Lane & Harburg from here to eternity.

The first time I met Kate, we were a table apart for Jonathan Tunick’s Broadway Moonlighters in November ’08. Over the course of the year that has transpired, Kate has achieved so many great things – a solo CD of Broadway standards, a successful cabaret debut and most notably, become a real, live Broadway star. On a personal level, none of this has changed Kate. She is exceptionally warm and gracious, easily evidenced by the time she took to talk with each and every fan following her performance Monday evening.

The program wasn’t very different from her set at Feinstein’s. The evening was again mostly devoted to her solo album (in short: buy it), and a lot of humorous banter between songs (including a lesson on “Googling Kate Baldwin,” the audio of which she played for us). However, she did add some new material, most notably bringing down the house with a spirited rendition of “The Rhythm of Life” from Sweet Charity, assisted by Devin Richards, James Stovall and Bernard Dotson, who led “The Begat” in Finian’s Rainbow. She also scintillated with Comden, Green & Bernstein’s “I Can Cook Too” from On the Town and was especially beguiling with “Will He Like Me?” from Bock & Harnick’s She Loves Me.

I consider the musical She Loves Me to be in my top three shows of all time (you can try and guess the others). It’s an utterly perfect jewel of a musical comedy, with score that is so intricately integrated with its book. The two lead characters are two of my favorites (I consider Georg the musical theatre character with whom I most connect). Kate played Amalia Balish and sing the showstopping “Ice Cream” a couple years ago in a production at Huntington a couple of years ago. After hearing Kate’s sublime delivery of that one ballad, I think it’s time NY had another production of the show. So if anyone wants to pass on the word to Jack Viertel and the Encores! crowd: they have an ideal show for the Summer Stars series, on the one condition that they cast Kate.

Meanwhile, Kate is heading to Washington DC later in the month for a Library of Congress concert of Harold Arlen’s revue Life Begins at 8:40 (with lyrics from Yip Harburg and Ira Gershwin), which will subsequently receive a cast album from PS Classics. Then in May, she is hopping the pond to make her London debut in the world premiere of Harold Prince/Susan Stroman’s latest collaboration Paradise Found at the Menier Chocolate Factory, with a cast that includes Tony-winners Mandy Patinkin, Shuler Hensley, John Cullum and Judy Kaye.

We had a chance to talk briefly about the new musical, which uses the music of Johann Strauss with new lyrics from Ellen Fitzhugh (and a book by Richard Nelson) to tell a sweeping romantic story of fin de siècle Vienna. As it stands now, the plan is to transfer the production to Broadway. The way that Kate describes it, the project sounds quite intriguing, plus she’ll have ample opportunity to do a lot of legitimate singing. (To the operetta haters currently groaning, this is NOT going to be a retread of The Great Waltz, mark my words). I only hope that Kate will soon be back on Broadway where she truly belongs sooner rather than later.

Oh – by the way, here’s “Googling Kate Baldwin”:


"Finian’s Rainbow" Revival on CD


When it comes to Broadway cast albums I almost always have a tendency for the original Broadway cast; they are usually definitive, including those made in the aural ice age of the 78 rpm platters or the dawn of the LP in the 1940s. Stereo came into play in 1956, Goddard Lieberson at Columbia was the champion of the original cast recording.

As the art form of the American musical has evolved, the technology with which music is recorded – and played on – has changed precipitously. Time constraints, technological limitations are no longer an issue. When there is money for an album, there is now room for dialogue, bonus material and occasionally a DVD companion. The problem is in the market – the original cast album has gone from one of the most lucrative areas of the music industry in the 1950s and 60s to a niche market. Pirating makes matters even worse. However, the producers take an extra special care in making sure the album released is the best it can be.

That said, I tend to prefer the contemporary recordings of new musicals as opposed to revivals. Perhaps its my ear lacking adjustment or just my personal preference, but in spite of all the great technological advancements, many of the older shows being re-recorded tend to lack the energy that makes the show work in the theatre, or the original cast album come to life in your room. So many of the new revivals sound as though they were recorded in a small studio, whereas the originals contain palpable theatre performance preserved for the ages. Revivals such as South Pacific, Gypsy and Hair were stunners onstage, but their respective albums fail to capture the magic. However, there are many older recordings that do capture that magic, in particular those Columbia albums of the 50s and 60s.

So while I vary my listening – I can have up to as many as 10 recordings of a particular score (and I do make it a point to listen to each to listen for variations in performance, orchestration, relevance, etc) I do find myself preferring to go back to the originals. However, there are always exceptions to the rule.

Finian’s Rainbow is one of those exceptions. I’ve never particularly cared for the 1947 original cast album released by Columbia (it was their second theatre recording; the first was the previous year’s revival of Show Boat). It preserves David Wayne’s Tony-winning performance as Og, but I’m perpetually bothered by the mannerisms of star Ella Logan. I don’t know if she found it charming, or was trying (in vain) to mask her Scottish accent, but her consonant heavy crooning gets on my nerves. A 1960 revival album is better, but lacks star power with the exception of contralto Carol Brice’s rendition of “Necessity.” Then there’s the film adaptation, a bloated anachronism from 1968 that fizzles on impact. A 2004 off-Broadway revival at the Irish Rep also received a delightful recording, but that featured that production’s spare 2 piano reduction.

It was the recent Encores! and Broadway revival that really introduced me to the many joys of its classic whimsy. This dated, “unrevivable” mix of satire and fantasy was suddenly back in fashion, a resounding production that led to its latest cast album, a stunning effort from PS Classics. The new disc is one of the most complete recordings of the score, featuring the glorious original orchestration under the baton of musical director Rob Berman. Everything sparkles from the first notes of “Glocca Mora” in the overture to its bittersweet finale. The overture is presented in its entirety, as well as the entr’acte. Recorded here for the first time is the second act “Dance of the Golden Crock” with its haunting harmonica accompaniment provided by Guy Davis. It’s noteworthy to hear “If This Isn’t Love” in its entirety, dance break and all. It was a showstopper in the theatre, and remains so on disc.

I’ve already exhausted many superlatives on this musical production, which should still be running. Despite some reservations with the book, the ebullient cast and creative team created one of the most beguiling revivals of the year, with stellar performances and the perfect mix of satire and sentiment. I expected the show to receive good notices, but I didn’t anticipate that its old fashioned charm would bring it the best notices of any show to open this season (to date).

Kate Baldwin and Cheyenne Jackson sparkle. She is entrancing from her first note in “How Are Things in Glocca Mora?” Nothing will ever erase the memory of hearing her sing this song for the first time, in the most bewitching deliveries of the ballad I’ve heard. Every element of her performance is captured here: her flirtatiousness, her feistiness and her unique charm. Jackson’s performance comes across better on disc than it did in the theatre. If Woody seemed a bit stiff onstage, his baritenor is perfect for crooning the period score. The chemistry between the two of them here is palpable (particularly on the standard “Old Devil Moon”).

Jim Norton supplies his gruff but lovable Finian, getting to do more singing than most prior actors in the role. Christopher Fitzgerald chews it up as the impish leprechaun Og, who score major points with the eleven o’clocker “When I’m Not Near the Girl I Love.” Terri White’s “Necessity” would bring down the house in the St. James, Carnegie Hall or Giants’ Stadium. Her contralto reverberates like thunder on the horizon – and rightly stopped the show at every performance. Chuck Cooper leads the second quartet “The Begat” with charm and gusto.

For those who are still lamenting its premature closing, much like myself, the recording recalls many fond memories. Those who missed it will get a feel for the treasure they missed. The resulting product is in my estimation the definitive cast recording of Finian’s Rainbow and one that I plan on revisiting time and again.

Kate Baldwin at Feinstein’s

One of the great gifts of the holiday season was the chance to see Kate Baldwin’s debut at Feinstein’s back on December 13. The evening was a chance to celebrate her solo CD debut, “Let’s See What Happens,” one of the finest solo recordings released in the last couple of years. Her husband, actor Graham Rowat, made the following video of her evening, capturing her humor, elegance and of course, that stunning singing voice. For those of who weren’t able to be there that night, here’s a glimpse into that glorious evening. You can still catch Kate in Finian’s Rainbow at the St. James Theatre until January 17, it’s a performance you don’t want to miss. In the meanwhile, enjoy:

Kate Baldwin: "Let’s See What Happens"


Christmas came early this year. It started in October when Kate Baldwin released her sublime solo CD “Let’s See What Happens.” The album features Baldwin singing the songs of Lane & Harburg, the men responsible for her current success in the Broadway revival if Finian’s Rainbow, and is a disc that I find myself listening to on a regular basis. I treated myself to a rather luxurious Christmas present: an evening at Feinstein’s hearing Kate singing selections from her album.

Truth be told, I actually met Kate Baldwin the person before I became familiar with Kate Baldwin the artist. We were introduced to one another by SarahB last November at Birdland, where she and I simultaneously geeked out when Jonathan Tunick conducted the Broadway Moonlighters in the Merrily We Roll Along overture. I’d be lying if I said I wasn’t somewhat star struck by her warm, gracious and effusive personality.

The first opportunity I had to see the actress at work was in the Encores! presentation of Finian’s Rainbow last March. There was something ethereal in the moment she opened her mouth to sing the first few measures of “How Are Things in Glocca Mora?” The quality of the vocal timbre, the tone, vibrato and underlying emotion were fused in this beguiling sense of entrancement. Her understated, showstopping delivery was one of the highlights of the musical, which charmed enough critics to warrant a Broadway transfer. Kate Baldwin entered, as she calls it, “Leading Lady Land.”

While Baldwin has amassed some impressive credits over the past ten years, she has remained mostly on the periphery. She has appeared in some shows off-Broadway and Encores, but mostly understudied major roles on Broadway in Thoroughly Modern Millie and Wonderful Town, plus noted turns in Opening Doors at Carnegie Hall and at Wall to Wall Sondheim. In regional theatres around the country, she has had the opportunity to play many of the classic musical theatre heroines: Nellie in South Pacific, Maria in The Sound of Music, Marian the Librarian in The Music Man, Amalia in She Loves Me, etc, etc. and so forth. Kate is a performer of such versatility that she can easily be both ingenue and soubrette. In fact, were she born in the Golden Age of musical theatre, the creators of these shows would have breaking down her door to write for her. It is the unexpected and deserved success of Finian’s Rainbow that has catapulted her into the big leagues and is likely to be a serious contender for a Tony nomination this spring.

Sarah informed me of Kate’s plan to record a solo album, which would homage the canons of both Burton Lane and Yip Harburg, the men responsible for the Finian’s score. It was the news that she would record “That Something Extra Special” from Darling of the Day had me about as thrilled as you can imagine. That show, which featured Harburg’s lyrics set to Jule Styne’s music, is one of my all-time favorite scores. It was a fast failure in 1968, but earned Patricia Routledge a Tony, and became a cult favorite of many musical theatre enthusiasts, Baldwin included.

On the night of the first preview of Finian’s Rainbow, I had the pleasure of talking with Kate about the songs on her album, our mutual admiration for Patricia Routledge and many long-forgotten scores that languish in obscurity. There is a great similarity between her and the great Maureen O’Hara. Both are feisty, independent yet always feminine (and both excellent singers) Such is the case I think Encores! should revive Donnybrook! (the underrated musical version of The Quiet Man) for her. She is also exceptionally well-versed in the history of musical theatre, and is one of the few people able to keep up with my inherent esoteric rambling. (Like true musical theatre geeks we finished each other’s sentences about various shows and various composers). One of the beautiful things about her solo album is that most of the song selections are obscure gems that have long been waiting for rediscovery.

The album was released in October by PS Classics, just before opening to unanimous raves from the NY critics. The disc is a necessity for any musical theatre fan. Not only is it an auspicious debut effort, but it’s also one of the best solo albums I’ve heard in quite some time. The first cut is the aforementioned “That Something Extra Special,” which establishes the intimate tone for what’s to come, and is also an apt description of Kate’s vocal styling. Kate possesses a voice that is as at ease in soprano ballads as it is in uptempo jazz. She also enlisted many of the friends she’s made for orchestrations, including Jason Robert Brown, Rob Berman (her musical director and pianist at Feinstein’s), Georgia Stitt, and EGOT winning Jonathan Tunick (who also played clarinet for one of the cuts – even Benny Goodman would eat his heart out!).

It’s hard to pick out favorites, as I don’t think there is a single track on the album that I don’t enjoy. But my love goes out to the combination of “Let’s See What Happens,” also from Darling of the Day and “Open Your Eyes” from Royal Wedding, combined in a simple, elegant piano arrangement by Berman (who fuses the songs with the unexpected but brilliant “Emperor’s Waltz” by Johann Strauss). There are upbeat readings of “Come Back to Me” from On a Clear Day You Can See Forever (Lerner & Lane), “I Like the Likes of You” from Ziegfeld Follies of 1934 (Vernon Duke & Harburg) and “Have Feet, Will Dance” from the 1957 TV musical Junior Miss (Lane & Dorothy Fields). Contrasting are plaintive readings of “Here’s to Your Allusions” from the infamous Flahooley (Sammy Fain & Harburg) and “Paris is a Lonely Town” from Gay Purr-ee (Harold Arlen & Harburg). She also plants the tongue firmly in cheek as she takes on Lena Horne’s unusual eleven o’clock number “I Don’t Think I’ll End It All Today” from Jamaica (Arlen & Harburg), an infectious calypso dismissing suicide. The album ends with a stunning “The World in My Arms,” originally from Hold on to Your Hats (Lane & Harburg). Her reading of the song is so intimate and so personal, it’s like stumbling across a love letter that fell out of the pages of a diary.

Being at Feinstein’s last night felt like a sort of throwback as we watched Kate Baldwin the Broadway star became Kate Baldwin the chanteuse. It was her first time performing at the venue, and apparently her first attempt at cabaret. She delighted with her effortless charm and offbeat sense of humor, all the while radiating a luminescent star quality. Her banter included lots of love for her husband, the equally charming and gracious Graham Rowat, as well as stories from her musical theatre background. The audience was smitten from the very start and laughed amiably as she recreated her high school performance as Evita (completely with all operatic head voice and absolutely no chest voice), a summer camp performance as Gloria Rasputin in Bye Bye Birdie as well as stories about looking up various fans on Facebook.

She set list for the evening contained mostly gems from the CD, delivered with the same intimacy and compelling intelligence found on the record (did I mention she referred to it as her “record” all evening? Points for period charm). Poised, patrician and elegant she was at ease with a ballad as she was with an uptempo number; transforming before our very eyes into a girl singer along the likes of Rosemary Clooney. She also added a few numbers not found on the album: “Too Late Now,” the gorgeous ballad by Lerner & Lane from Royal Wedding and a charming rendition of “The Merry Old Land of Oz” from, well, you know, but that included some tongue in cheek nods to other’s songs in Finian’s Rainbow. She also interrupted herself during Cy Coleman & Dorothy Fields’ “I’m the Bravest Individual” from Sweet Charity to relay amusingly self-deprecating anecdotes of the unintentionally back-handed compliments she’s received over the years. Which leads me to a question: when will Ms. Baldwin record an album of Coleman songs?

Kate ended her set with “The World in Your Arms,” which is, as I have been known to put it, musical theatre zen. Her encore was the delicate arrangement of “How Are Things in Glocca Mora?” from her album, which brought the enchanted crowd to its feet. If Mr. Feinstein is smart, he should already be arranging her next engagement before the Cafe Carlyle and Metropolitan snatch her up (which given her exceptional year, is an inevitability).

The season of Kate Baldwin, as Sarah has dubbed it, continues as Kate, Cheyenne Jackson and the cast of Finian’s recently recorded their revival cast album, which will be released by PS Classics early next year. Last night wasn’t just Kate’s first time at Feinstein’s, but also mine. (I even wore a suit for the occasion, and those who know me well know that’s a feat in itself). I couldn’t imagine a better first experience than hearing Kate, while sharing more laughs and good times with those good and crazy people, my friends Sarah, Kari and Roxie. Fortunately, this time no one yelled at us, nor did Roxie yell at anyone famous. So in all, it was an evening I shall never forget. Oh – and one more innocent confession: I’m a little bit in love with Kate Baldwin. (I hope you don’t mind, Graham). But truth be told, is there anyone out there who isn’t?

"Kitty’s Kisses"

There was this musical about three years ago that came to Broadway by way of Canada. It was about a middle age recluse who listened to his favorite cast album as it came to life in his own living room. It won a few Tonys, was a decent hit and endeared co-librettist/star Bob Martin to the theatre world. The show was The Drowsy Chaperone, which glibly spoofed 20s musicals of a certain ilk, namely the light romantic musical comedy.

The first time I popped on the cast album of Kitty’s Kisses from PS Classics, I was immediately reminded of Chaperone, seeing the character archetypes and plot contrivances popular in the pre-Show Boat musical that are reflected on and spoofed in the later show. Kitty’s Kisses ran for 170 performances, not bad for a show of the era, back when it took a couple of months if not weeks to recoup. Though a success, it wasn’t a blockbuster like No No Nanette or Good News, and like many other likable period shows, fell by the wayside. Some of the songs by Con Conrad and Gus Kahn became hits (the liner notes mention that Queen Marie of Romania was particularly fond of the title song), but the show has been mostly forgotten, except as a footnote in musical theatre history books.

One of my biggest issues with The Drowsy Chaperone was its initial conceit, a point exemplified by the obscurity of Kitty’s Kisses. There was no such thing as an original Broadway cast album during the decade. It wasn’t until the 1930s that record producers started to experiment in preserving musical theatre scores. It seems a minor sticking issue, but it’s what’s kept Chaperone at bay for me. Though, I took less issue with the London production which adapted the show for the West End (the original London cast album predates the original Broadway cast album by quite a few years). My main beef – the Chaperone is pastiche. It’s sometimes amusing, but it’s mostly mediocre, coming off as a rehash of a rehash of a rehash (and truth be told, I hope and pray there is a moratorium on new 20s musical comedy spoofs).

But now we get a sample of the real thing, and what a superb treat it is. Kitty’s Kisses was a success in NY, then it went to London where it was merged with the Rodgers and Hart musical The Girl Friend (that’s something you don’t hear every day…). It was a charmer that got lost in the shuffle, and was eventually shelved in a New Jersey warehouse where it would have continued to languish were it not for Tommy Krasker. He stumbled upon the material while cataloging the Warner Bros music archive in the mid-80s and it is through his persistence that the restoration was done, with painstaking research and commitment as well as the blessing of Donald Kahn, Gus’ son (to whom the album is posthumously dedicated). Now after 23 years of hard work, he has given us an unexpected surprise this fall: an official cast recording of Kitty’s Kisses, billed as “The Bright New Summer Musical Delight.”

Rebecca Luker lends her shimming soprano to the title role, the innocent ingenue who finds herself at the center of the ridiculous period farce going on around her. The big scandal – Kitty poses as a married woman to get a hotel room and is mistaken for another married woman. Hijinks, mistaken identities and your usual machinations propel the plot (of which there is admittedly very little). But as was often the case, the script was an excuse for gags and light musical entertainment. The score is light, engaging and often delightfully clever with Kahn’s lyrics beautifully complemented by Conrad’s period sound. There are many studio recordings of scores that feel like a textbook document of a musical, rather than a vibrant cast album. I can’t remember the last time I’ve felt such joy and warmth from hearing a “lost” score.

The effervescent Kate Baldwin is the free-spirited Lulu, getting things off to a fresh start with the opener “Walking the Track.” Victoria Clark is an absolute riot as grand dame opera singing dowager Mrs. Dennison, who shares the duet “I Don’t Want Him” with Luker. The “Him” in that number happens to be played by Danny Burstein, while Malcolm Gets plays his brother. Andrea Burns and Christopher Fitzgerald take on the specialty material, originally created for vaudeville duo Ruth Warren and William Wayne. Phil Chaffin is Robert Mason, Kitty’s stoic love interest. Jim Stanek makes a brief appearance as the train conductor leading “Choo Choo Love.”

The album was not only produced by Mr. Krasker, but he has supplied a concise, informative essay on the show, its fall into obscurity and its restoration and resurrection. The show’s synopsis is provided by Robert Edridge-Waks. Orchestration was provided by Sam Davis, who also conducted the recording. The CD booklet also contains various production photos and images of newspaper clippings as well as the program from the Newark tryout.

According to the Krasker, the material for the finale ultimo was never recovered. The show ended on Broadway with a song called “Steppin’ on the Blues,” (with additional music by Will Davidson) and I can only assume that the song itself is also lost. The powers behind the album have created a brand new finale ultimo for the show using the composing duo’s Oscar-winning song “The Continental” from the 1934 film The Gay Divorcee. It doesn’t quite gel with the rest of the score, but it’s a cute way of wrapping things up.

This is the third in a line of score restorations for the label; they released Vincent Youman’s Through the Years in 2001 and Kay Swift’s Fine and Dandy in 2004. I cannot stress how wonderful it is that the folks at PS Classics have taken the time to painstaking refurbish a show like Kitty’s Kisses. In the late 1980s and 1990s, John McGlinn was pretty much the go-to archivist with an emphasis on the works of Jerome Kern, while John Mauceri took care of the Gershwin canon. Those albums, however, were intent on restoring the works of major composers. However, the audience for show music sadly appears to be shrinking and shrinking, so less recordings like these are less likely to be made. John Yap make a series of full studio cast albums of entire vocal scores, but given the economy has left them sitting on the shelf (including the full album of One Touch of Venus made with Melissa Errico). It’s unfortunate, as each of these recording provides musical theatre fans with a further link to the history of the genre. I only hope it’s not another five years until PS Classics releases its fourth restoration.

"Finian’s Rainbow" Shines on Broadway

The powers that be behind the Roundabout revival of Bye Bye Birdie, the new textbook example of how not to revive a second-tier Golden Age property, should look to the St. James Theatre to learn a thing or two. The seemingly unrevivable Finian’s Rainbow has made its way back to Broadway in a loving, vibrant production that illustrates the enchanting wit and charm that made the show a resounding success in its original production.

The musical, last seen on Broadway in 1960, has had something of a problem in receiving a full-scale revival. The libretto by Fred Saidy and lyricist Yip Harburg is generally considered the deal-breaker in resuscitating the show. While it combines elements of fantasy and whimsy with a satiric look at racial bigotry and capitalism, the book has long been considered dated, and rightly so. It is dated. Finian’s Rainbow was a period satire written in 1947 that surprised audiences with its storyline, which included a white racist senator being transformed onstage into a black man, with the use of black face. The stage trick worked for a 1940s audience, but would prove disconcerting to our more racially aware society. There’s also a leprechaun turning mortal while looking for a stolen pot of gold, a mute who communicates solely through dance, among other hijinks.

The Encores! presentation brought in resident script doctor David Ives to condense the problematic book, but in doing so left much to be desired as too much of the story was stripped away. A brand new adaptation has been arranged for the Broadway transfer, executed by Arthur Perlman which is a considerable improvement. While it doesn’t completely smooth out the script’s roughest edges, it manages to make them somewhat more palatable. (And I do love the exchange between Finian and Og involving popular musical theatre lyrics of the time).

Kate Baldwin is effervescent as Sharon McLonergan, a feisty colleen finding herself transplanted from her native Ireland to Rainbow Valley, Missitucky on her father’s whim. Sharon’s first song of the evening is the popular “How Are Things in Glocca Mora?” and Baldwin’s simple, lucid interpretation is the most spellbinding I’ve ever heard. Cheyenne Jackson is her paramour Woody, the town’s hero, who cuts a dashing figure and sings well, but is, dare I say it, wooden. Jim Norton ties together the entire production as Finian McLonergan, who incites chaos by stealing a pot of gold from a leprechaun in one of the more outrageous get-rich quick schemes known to drama. With a twinkle in his eye, and a skip in his gait, Norton appears to be having the time of his life.

There has been some recasting of roles since the Encores concert. Christopher Fitzgerald brings considerable comic charm and impishness to the leprechaun Og, and is a versatile improvement over his predecessor. David Schramm (Roy from Wings) plays Senator Rawkins with a vivacity reminiscent of the late Burl Ives, while his counterpart Chuck Cooper has a field day with the second act number “The Begat.” (It boggles my mind that no one ever thought of double casting the part before). Audience favorite Terri White belts out the rafter-shaking “Necessity,” repeating her duties from the Encores concert. However, one major difference – her performance on Broadway (as written and staged) was more of a genuine supporting turn rather than the glorified cameo it was at Encores.

Warren Carlyle’s staging and choreography are full and energetic, with “If This Isn’t Love” practically stopping the show. His earlier work from the Encores! production has been expanded and adds a certain clarity to what is essentially a convoluted story. He has the light touch necessary to bring his cast of 30 above and beyond what is normally expected from this show, and it would be interesting to see his work on top tier Golden Age material. (I wonder if he might be the man for Carnival!). The costume and lighting design are sumptuous, however, the set design by John Lee Beatty is surprisingly unattractive. There is a lovely patchwork show curtain, but the unit set is a gaudy extension of the Encores set up, which is unfortunate since the orchestra was moved to the pit.

As it was at Encores, the real star of the evening is the music of Burton Lane and lyrics of Yip Harburg. Harburg was known especially for his word play, and his tongue in cheek playfulness with the English language is complemented by Lane’s sophisticated use of melody. I dare you to leave Finian’s without one at least one of those songs running through your head. I’ve always admired its score. Harburg’s lyrics are always superlative (even his work in the flop Darling of the Day is better than most contemporary successes) and Lane is one of our most underrated composers (I enjoy On a Clear Day and even Carmelina). The score is one superb musical delight after another.

I should confess, I was never a big fan of Finian’s Rainbow. It’s story and script have left me rather cold over the years, and that certainly wasn’t helped by the tepid film adaptation or Ella Logan’s bizarre idiosyncratic performance as Sharon on the original cast album (one of the rare occurences where I prefer a revival album to the original). However, the vivacity of this production has made me reassess my opinion of the entire show, as I find myself hoping to make a return visit.

When the show played the City Center last March, I still wasn’t entirely convinced that it was worthy of a Broadway run. (The only Encores! I’ve ever felt was ready for Broadway was the superlative No No Nanette from 2008). However, in bringing Finian’s Rainbow to the St. James, much care has gone into making it a fully realized evening, and one with warmth to spare. For whatever quibbles there are with the script, the polish and poise in Carlyle’s production is enough to keep you smiling long after you’ve gone home looking for your own rainbow.

Finian’s back on Broadway

Last night, I decided to take in the first preview to cheer on the incandescent Kate Baldwin as she becomes Broadway’s newest leading lady. I won’t go into specific detail, since it was only the first performance and it’s still a work in progress, but anyone who saw Finian’s Rainbow at the Encores! should consider checking out the Broadway production at the St James Theatre. The orchestra has been moved into the pit, plus there is new scenery, costumes and lighting. The powers that be have restored a smidgen of the book and Christopher Fitzgerald and David Schramm (Roy from Wings!) have joined the company. They’ve had the time to go through tightening and fixing what couldn’t be done over the week allotted for rehearsal at the City Center.

Before the house lights went down for the overture, Warren Carlyle, the director and choreographer welcomed the audience and told us that we would be seeing an understudy that evening and asked us to cheer her on. Alina Faye, the actress who normally dances the role of Susan the Silent, was out with pneumonia. Stepping into her shoes was Leslie Donna Flesner, who was appearing on Broadway for the first time and only learned the part the day before. The role of Susan requires her to dance the entire show (including her dialogue) and culminates in the haunting second act “Dance of the Crock” where she dances to the accompaniment of a sole harmonica. Carlyle begged us to lend her our love and support. Flesner, with very little time to prepare, danced exquisitely. I’m sure if attention wasn’t called to the fact, there would have been folks in the audience who wouldn’t have realized she was the understudy – she was that extraordinary in an unexpectedly auspicious debut.

How nice to see a vintage musical of the Golden Age sparing no expense in utilizing the original orchestrations and dance arrangements (in this case, Robert Russell Bennett, Don Walker and the unsung heroine of all the popular favorites of the 40s and 50s, Trude Rittman). As I mentioned, the orchestra is in the pit, the first time I have seen that with an Encores production – with 26 players including the harp and two French horns! It’s also a joy to see Tony winner Jim Norton having the time of his life on stage in a musical, and to welcome the unceasingly divine Terri White back to Broadway after a twenty year absence. When Ms. White tears into “Necessity,” her rich contralto resonates like a shock wave, electrifying the audience and once again proving why she is and always has been an audience favorite. If Encores! should ever decide to revive Hallelujah, Baby! they must cast White in the Lillian Hayman role so she can bring down the City Center with “I Don’t Know Where She Got It.”

Post-show, SarahB and I stopped by for an aperitif or two at our beloved Angus. In fact, Angus himself seated us and we settled in for a pleasant evening as the casts of Finian’s and Superior Donuts hung out, and we joined the latter (!) in a chorus of “Edelweiss.” Plus, various literary figures and a certain star of Glee stopped by with his significant other. It was irrepressible night as “who’s who” of the New York scene seemed to be out and about, proving why it’s the place to be. I was the Max Detweiler to Sarah’s Baroness Schraeder.

Meanwhile, Finian’s Rainbow is back in its first Broadway revival since a week long run at the 46th Street (now Richard Rodgers) Theatre in 1960 (where the original production played). Interesting to note, all three Broadway revivals of the show have originated from the City Center. The show is now in previews, with an opening night set for October 29.

Coming This Fall…


I can’t wait to get my hands on this album. For the record? “Let’s See What Happens” from Darling of the Day is one of my all-time favorite show songs. Release from PS Classics expected October 20. Kate Baldwin can also be seen onstage in the new Broadway revival of Finian’s Rainbow and has just launched her official website. Plus, she’s also featured on a studio cast album of a long-forgotten 1926 musical comedy Kitty’s Kisses, also from PS Classics. So much to look forward to from this diva on the rise!

Her first solo album is a tribute to Finian’s Rainbow‘s composer Burton Lane and lyricist E.Y. Harburg, an amalgamation of songs they wrote together and with other artists. The track list (courtesy of SarahB) is as follows:

“That Something Extra Special”
(Darling of the Day, 1968)
Jule Styne & E.Y. Harburg
Orch. Sam Davis

“How About You?”
(Babes on Broadway, 1941)
Burton Lane & E.Y. Harburg
orch. Jonathan Tunick
Jonathan Tunick, clarinet (even Benny Goodman would eat his heart out!)

“Moments Like This”
(College Swing, 1938)
Burton Lane & Frank Loesser
orch. Georgia Stitt

“Come Back to Me”
(On a Clear Day You Can See Forever, 1965)
Burton Lane & Alan Jay Lerner
orch. Jonathan Tunick

“Here’s to Your Illusions”
(Flahooley, 1951)
Sammy Fain & E.Y. Harburg
orch. Steve Marzullo

“Have Feet, Will Dance”
(Junior Miss, 1957)
Burton Lane & Dorothy Fields
orch. Rob Berman

“How Are Things in Glocca Morra?”
(Finian’s Rainbow, 1947)
Burton Lane & E.Y. Harburg
orch. Rob Berman

“Poor You”
(Ship Ahoy, 1942)
Burton Lane & E.Y. Harburg
orch. Joshua Rosenblum

“Paris Is a Lonely Town”
(Gay Purr-ee, 1962)
Harold Arlen & E.Y. Harburg
orch. Jonathan Tunick

“I Like the Likes of You”
(Ziegfeld Follies of 1934)
Vernon Duke & E.Y. Harburg
orch. Rob Berman

“Let’s See What Happens/Open Your Eyes”
(Darling of the Day, 1968)
Jule Styne & E.Y. Harburg
(Royal Wedding, 1951)
Burton Lane & Alan Jay Lerner
orch. Rob Berman

“Where Have I Seen Your Face Before?”
Burton Lane & E.Y. Harburg
orch. Joel Fram

“He Wasn’t You”
(On a Clear Day You Can See Forever, 1965)
Burton Lane & Alan Jay Lerner
orch. Joseph Thalken

“I Don’t Think I’ll End It All Today”
(Jamaica, 1957)
Harold Arlen & E.Y. Harburg
orch. Jason Robert Brown

“The World Is in My Arms”
Burton Lane & E.Y. Harburg
(Hold on to Your Hats, 1940)
Rob Berman, piano