Reviews - Finian's Rainbow and Kate Baldwin CDs

For me, there's no greater pleasure than sitting down to listen to the cast recording of a beloved show. Of course, I'll buy practically anything, irrespective of whether I've seen the show. Years ago, my cousin Joanne asked me why I would buy the cast recording for a production I hadn't seen. I sputtered at first, for lack of comprehension. Why would one need to have seen a show to enjoy a cast recording, I eventually replied. I wasn't alive to see Ethel Merman in Gypsy, but I can still marvel in her clarion call of a voice on what might just be the greatest score of all time.

In deference to my cousin, I will say that cast recordings are that much sweeter when I have seen the production in question. It's one of the reasons why I'm so delighted with the new PS Classics release of Finian's Rainbow. Alas, this production of Finian's Rainbow played its final performance at the St. James Theater in January. I saw the show once at Encores (read my review) and twice on Broadway (read my review and my re-review). My take on the show itself varied, but my reaction to the score was steadfast: it's a gem. Fortunately, the good folks at PS Classics have done their usual bang-up job of preserving classic and quality shows, which now includes this nonpareil score from composer Burton Lane and lyricist Yip Harburg.

Sure, there are more cohesive and integrated scores, particularly those from some of the Rodgers and Hammerstein shows. But I'll be damned if I can think of another score from this or any period that has as many genuinely tuneful, funny, and charming numbers as Finian's Rainbow. There honestly isn't a single bad number in the bunch. Lane and Harburg run the full gamut from sweet lyricism ("Look to the Rainbow") to charm songs ("Something Sort of Grandish") to rousing production numbers ("If This Isn't Love") to wry social comment ("Necessity"). And when you've got the personable and professional likes of Kate Baldwin, Cheyenne Jackson, Jim Norton, Christopher Fitzgerald, and Terri White to sing such a gem of a score, well, all the better.

This recording of Finian's Rainbow captures so much of what made the show charming, particularly Kate Baldwin's stirring soprano voice and Christopher Fitzgerald's impish playfulness. And what a delight it is to hear Terri White's husky voice emanate from my stereo once more. In younger days, I practically wore out my LP of Barnum, particularly White's bravura take on "Thank God I'm Old."

Rediscovering Finian's Rainbow got me to thinking about other shows that feature the worth of Burton and Harburg. Both gentlemen had distinguished careers as songwriters, but neither really hit it all that big on Broadway. Harburg's other shows include the underrated Bloomer Girl, the joyous but forgettable Jamaica, and the utterly bizarre Flahooley. None of these shows was particularly successful financially, and Flahooley was a outright bomb. Lane's most memorable shows, other than Finian's, were On a Clear Day You Can See Forever and Carmelina, both of which have much to recommend them, although as a whole they're rather unfulfilling. 

But as is often the case with talented creators, even their biggest flops contain diamonds in the rough. Which is one of the reasons that Kate Baldwin's new solo CD, Let's See What Happens, is such a delight. As a sort of Finian's tie-in, PS Classics has also recorded and released this compilation of musical delights, mostly from the various shows and movies that Lane and Harburg contributed to over the years. And who better to interpret these songs than the dazzling Ms. Baldwin.

Notable tracks on the CD include "That Something Extra Special," from Darling of The Day, and as definitive as Patricia Routledge is on the show's cast recording, Baldwin more than holds her own. Baldwin also charms on "Here's to Your Illusions" from the aforementioned Flahooley. Again, Baldwin proves a genuine match for another formidable lady, the lovely Barbara Cook, who performed the song on the train-wreck fascinating Flahooley recording. The Baldwin CD also unearths a few little-known (or at least unknown to me) gems, including "I Like the Likes of You" from The Ziegfeld Follies of 1934, and "Have Feet, Will Dance" from the 1957 TV musical "Junior Miss." 

The CD errs on the side of the slow and contemplative ballad, and although I'm usually more of an uptempo guy, Baldwin's clean and rounded delivery make for energizing listening even on the slowest of slow songs. I really hope this woman has a long and successful career ahead of her. She's enchanting both on-stage and in the studio. It's lovely combination.

Comments

[Joseph Gomez]

You've mentioned elsewhere on your blog that West Side Story might just have the greatest score of all time. Here you cite Gypsy's score as possibly the greatest.

Just for grins, which is it? I'm gonna go with WSS's score as the best.

[ccaggiano]

Joseph, excellent question. I think I'm going to have to go with West Side Story, if only for sheer ambition. Jule Styne, with Gypsy, was going for classic Broadway, and he achieves that quite handsomely. Although there have been rumors that he wasn't entirely responsible for the score, and might have had more than a little help from Sondheim. It's interesting to note that none of Styne's other scores even come close to Gypsy, and that it is also his only collaboration with Sondheim. Coincidence? Perhaps, but compelling.

West Side Story is easily Bernstein most interesting, most inventive, but at the same time most accessible. It combines heartbreaking melodies with evocative instrumental passages, conveying meaning and character handily through both. Isn't it interesting that Sondheim was involved in this show as well, although the rumor here is that Bernstein was responsible for many of the lyrics, but decided to give Sondheim full credit.

So, both scores are stellar, but I'm giving WSS the edge.

[Geoff]

I missed this production in NY, but I've listened to the CD now about a half dozen times and find it to be mostly excellent with just a few cavils. Kate Baldwin is uniformly superb, quite the best Sharon I've ever heard with outstanding diction, clear tones, and just a touch of an Irish brogue (I've never been able to decipher that "red propaganda" line in "If This Isn't Love" before now, so thank you Ms. Baldwin). Cheyenne Jackson is unlike any Woody I've encountered before -- very lowkey and ubersexy. The way he slithers around "Old Devil Moon" works quite well, but I do wish he had a larger instrument (no pun intended, so stop sniggering Caggiano) for "If This Isn't Love" where rafter shaking sonority is a must.

I have always loved Terri White and this recording only makes me wish she had more to do. Nonetheless, her "Necessity" is nigh definitive and a true highpoint of the recording. Christopher Fitzgerald is a delightful Og and he practically steals the show with "Grandish" and especially "When I'm Not Near the Girl I Love." I can practically see him winking on each delicious punchline.

I can't give the recording a complete rave, because the orchestra bothered me at times. I know I'm really sounding picky here, but balances were simply not good and while the playing is never less than professional, much of it lacks verve, almost as if the players were thinking about their next gig. I just want to yell at the trumpet section for their nearly inaudible entrance to "That Great Come and Get It Day" during the overture. Could they be any more timid? Then there are those anemic trombone glissandi in the dance section of "Look To The Rainbow." Honestly, they just sound bored. I could go on here, but you get the idea. And that "Look To The Rainbow" dance sequence has got to be the slowest Irish reel I've ever heard. In fact, many of the tempo choices seem a little sluggish, especially "The Begat" which just seems to plod (all the better to catch every sly Harburg rhyme I suppose).

And speaking of Harburg, I'd forgotten just how fine his work is here. The lyrics are so evocative, literate, satiric, playful, and outright absurd at times as to be a totalish delight.

So thumbs up for "Finian's" on the whole, but could we have a pick-up rehearsal for the orchestra please?