By Steven Suskin THE MUSICALITY OF STROUSE [JAY CDJAZ 9014]
This is a collection of 12 songs from 12 musicals. Or rather, seven musicals, two unproduced musicals, one oratorio, one revival of a musical and one film version of a musical. The tracks are compiled from a variety of Jay sources; some cast albums, some personality albums and some newly recorded for the occasion.
The selection of 12 out of 400 (?) can be a tricky business, but Jay has come up with a strong lineup. "The Musicality of Strouse" displays an intelligent, creative musical theatre composer at work. The obvious choices are omitted, and wisely so; I don't suppose we need to hear "Tomorrow" again. (My eight-year-old has of late been blasting it, at the top of her lungs, at every opportunity. To quote a Comden and Green lyric: "I don't know where she got it, she sure didn't get it from me.") The only standard included is "Once Upon a Time" from All American, which serves as a good launching pad for a discussion of Strouse's musicality. This is an especially fine recording of the song; the original duet version, expertly orchestrated by Red Ginzler, is used. David Green and Judy Kaye give a highly attractive rendition. Susan Egan's "How Lovely to Be a Woman," from Bye Bye Birdie, is just right (and brings us another modern-day recording of an original Ginzler orchestration).
More to the point, musicality-wise, are some of Strouse's later and more complex theatre songs. "Blame it on the Summer Night" (from Rags, sung by Sally Ann Triplett), "Is There Anything Better than Dancing" (from Nick & Nora, sung by Joanna Gleason and Barry Bostwick) and the title song from Dance a Little Closer all demonstrate an intelligent, creative composer at work. (This last is not from the original cast album, but a new and very nice recording by original-cast star Liz Robertson). Two of the previously unheard songs are especially interesting. "Winners" (sung by Alana Maria) was written for the 2003 London revival of Golden Boy; it features a strong lyric by Lee Adams, well set by Strouse. "Home" (sung by Karen Ziemba, with an assist from Christiane Noll), a paean to burlesque, is one of those delightfully jaunty show tunes that Strouse specializes in.his is from one of Strouse's musicals-in-progress, The Night They Raided Minsky's (with lyrics by Susan Birkenhead).
—Steven Suskin, author of the forthcoming "Second Act Trouble" [Applause Books], "A Must See! Brilliant Broadway Artwork," the "Broadway Yearbook" series, "Show Tunes" and the "Opening Night on Broadway" books. He can be reached by e-mail at Ssuskin@aol.com.
02 Oct 2005
Charles Strouse, like Harvey Schmidt, has been writing musical comedies since 1960; with at least a couple presently in the works, he's approaching the two-dozen mark (by my count). "The Musicality of Strouse" speaks well of — well, the musicality of Strouse.
ON THE RECORD: "Harvey Schmidt Plays Jones & Schmidt" and "The Musicality of [Charles] Strouse"
"The Musicality of Strouse" gives us a mere taste of Strouse, but most of the selections are rich and tasty.
