By Steven Suskin
25 Mar 2012

	Kazee in Once.
	photo by Joan Marcus

Given the nature of the piece — about a guitarist and a piano player who meet on the streets of Dublin — most of the songs feature the two leads. Steve Kazee is the fellow who had the thankless task of starring opposite Audra McDonald in the 2007 Roundabout revival of 110 in the Shade. Kazee was impressive for a virtual newcomer, but had an understandably difficult time holding the stage with McDonald singing up a storm and John Cullum chewing up the scenery. What a difference a few years makes. Kazee here is a Broadway leading man, and no mistake. His character is in emotional pain — "stopped," as the heroine explains — and a cry of anguish comes across in his voice in the very opening number, "Leave." Which immediately creates sympathy and interest in the character, the performer, and the show. Kazee entertains us all night, with his acting and singing and guitar playing; and when in the second act he finally finds something to smile about, it is as if the Dublin storm cloud momentarily lifts.

He is met every step of the way by Cristin Milioti. In the role of a Czech immigrant which calls for a humorous accent and a humorous demeanor, Milioti manages to dance on the border of too much without ever once touching her toe to the line. She, too, makes her character sympathetic and pretty much lovable in this unconsummated love story. And makes beautiful music, too.

The rest of the cast is filled with excellent musicians and some fine performances. Standing out musically are David Patrick Kelly with his mandolin (he plays the father) and Elizabeth A. Davis with her violin (she plays a Czech roommate of the heroine, with gusto). The fine performance from Paul Whitty, as Billy the music store owner, is even better than before. He was excellent downtown, but has added a layer of warmth to the comic awkwardness. You can't tell from the CD, of course, as hardly anybody has solos except Kazee and Milioti.

	Kazee and Cristin Milioti in the recording studio.
	Photo by Joseph Marzullo/WENN

Which brings us to the CD of Once, which is what we are here — technically — to discuss. Needless to say, I think it is pretty nifty. That said, prior to listening to the CD I saw Once thrice. How would I react coming to the CD cold, without the advantage of already admiring the thing? I expect I would like the songs quite as much, but would I find the score — with its lack of plot-specific lyrics — theatrical? Don't know, can't say. I can say, though, that everyone who loves Once on stage will love the CD; and everyone who loves the CD will be eager to see this exquisitely special musical.

The 16-track CD, excellently produced by Steven Epstein and Martin Lowe, is also available in an online iTunes edition (with a bonus track) and an online Barnes and Noble edition (with two different bonus tracks). These three tracks are pulled from the 20-odd-minute preshow entertainment, in which the audience is invited onstage — with liquor service, at Broadway concession prices — while the cast perform as street buskers. Watching this sequence at NYTW, you noticed that audience members were up there thronging the bar. At the Jacobs, at least the night I saw the show, the audience members were up there thronging not the bar but the cast of musician/actors.

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(Steven Suskin is author of the recently released updated and expanded Fourth Edition of "Show Tunes" as well as "The Sound of Broadway Music: A Book of Orchestrators and Orchestrations" (now available in paperback), "Second Act Trouble" and the "Opening Night on Broadway" books. He also pens Playbill.com's Book Shelf and DVD Shelf columns. He can be reached at Ssuskin@aol.com.)