Golden Apple / B.C.R.

I'm so glad that ps classics, one of my favorite recording producers, decided to head down to Irving, Texas (Dallas area), to record performances of THE GOLDEN APPLE, as produced by Lyric Stage, one of my favorite theater groups. I find this a wonderful recording, and enjoy the fact of it being live.Lyric Stage has done all kinds of good over the years, sometimes seeking out and resurrecting musicals that have been largely overlooked and forgotten; sometimes commissioning world premiere musicals (and, at least once that I know of, taking such a production to, and running it in New York City, to some acclaim); and, the last more than a few years, staging excellent performances (sometimes semi-staged concert versions, more often full productions) of classic and some more recent or obscure musicals and operettas. Every one I've seen has been praiseworthy (well, there was one premiere of a country-western musical, based on a movie, that, while well done and engaging, hadn't the usual excellence of material Lyric tends to feature). One of the major glories of these productions is the large (usually in the neighborhood of 40 pieces), professional orchestra in the pit, beautifully led by Maestro Jay Dias, and supporting the marvelous casts, made up mostly of local area performers, sometimes with fantastic performers brought in, where appropriate. Sometimes, they research and resurrect original orchestrations, and/or include original material that has tended to be jettisoned over the years (for instance, a charming little number between young Louis and the crown prince in THE KING AND I, of which I'd never heard). I have missed many of Lyric's shows over the years (including GOLDEN APPLE, unfortunately, making me especially grateful for this recording), but some particular favorites from those I've seen include THE MOST HAPPY FELLA; THE SOUND OF MUSIC (complete, and completely faithful to the original book and score, making it clear that that is the best version, notwithstanding the many "improvements" through the years, mostly inspired by the movie version); a premiere version of CINDERELLA, by Luigs and Warrender (since retitled THE PLEXIGLASS SLIPPER); and ABYSSINIA.Sorry, this veered far from reviewing this recording, but it is quite good and worth buying.

Unlike most reviewers here, I didn't love the original recording. I loved some things about it, but still felt some pieces were a bit too "simple folk" diatonic. The new complete version makes more sense of those choices, and it's a grand event overall. Making a comedy out of The Odyssey was a brilliant (and obviously foolhardy) thing to attempt. For those who do not know, this was a flop in its original production. The music is sophisticated, accomplished, clever, funny, beautiful, touching--all words that describe the wonderful lyrics. Is it a long lost masterpiece? That depends on how I feel when I'm listening to it. Everything here is at the very least good, and mostly exceptional. No matter what, it is a one-of-a-kind piece of entertainment. On that account, it's self-recommending. Anyone who loves musicals needs this. There's talent to spare here; page after page of wonderful, affectionate glosses on the musical forms of the time period in which it is set:1900 to 1910. But there's a bit of a problem caught up in that and the music occasionally (but only occasionally) trips up. Simplicity for the music of the unsophisticated people of the town of Olympus Washington would seem to be a brilliant idea. And it is--mostly. But the first act has some short patches of less than inspired music that seem to roll along pleasantly, without the bite they truly need. Then something wonderful will come along and all is forgiven. Until the next little patch that seems less than it should be. Some examples: Shouldn't Madame Hare's music be more mystical? She comes on and sings exactly like her peers. Eventually her music takes on a more sinister tone, but hardly otherworldly. After all, she does predict the future, She isn't one of them, so why is she singing like one of them? I'm sure some people will have no complaints.And why do the choruses (they are often split into men and women) have some of the least interesting music? I'll give Moross credit and assume it was on purpose, but it's a weak idea. The first act has the least amount of immediately interesting music, but it's all accomplished, and usually very much more than that. It certainly shows how skillful Moross was at musical satire. "Lazy Afternoon" is a wonderful song, even if it does seem to come from another show. But so is "My Love is on the Way". A second and third hearing shows how cleverly everything is fashioned. The wit of words and music are (mostly) irresistible. The entire Paris incident is some of the strongest music of the show. (It includes "Lazy Afternoon",) Act Two is even better, though even there, some things are stronger than others. The Circe section repeats endlessly in music that is not quite strong enough to support all that repetition. I kept wanting them to change keys, or something more than just repeat. Is it a deadly mistake? Of course not. And I may be alone in this, but shouldn't the final payoff--the duet of forgiveness and renewal at the very end of the show--be the best music of all? It isn't. It's quite lovely, but just not as touching or as memorable as it should be. The words are certainly there. It's the music that lets it down a notch. It's almost impossible not to compare it to "Make Our Garden Grow" from Candide, which has a very similar ending. Let that stand as my example of the difference.On the whole, it is delectable. And it is never boring, even though it is continuous music, without dialogue. And the highlights are truly that. Certainly all of Penelope's music is touching, lovely, wistful, sad. And the endless variety of song styles from the period give both composer and lyricist ample opportunities to show their skill. As I said, Act Two is particularly strong and varied. Penelope's "Windflowers" is as wonderful as "Lazy Afternoon". The Hawaiian number lasts just long enough. But the satiric ways that the men of Olympus are destroyed by the revenge of the people of Rhododendron aren't all funny. The strong music makes them seem like they should be, but suicide, forced slavery, and murder don't make for a bunch of laughs. (Though the rocket into space is a delight.)Considering everything, it's a gift to lovers of musicals. It just isn't perfect. But then, how few are.The performances are skilled, characterful, well-sung, and often funny. Danielle Estes, the Helen, is winning but a bit too giggly girlish for my taste. She's the farmer's daughter, but "Lazy Afternoon" shows just how skillful she is at manipulation. Why else are all those men trying to win her? She certainly sings well. And she's making strong character choices, not just singing the notes. I just don't always agree with them. Christopher J. Deaton as Ulysses seems a bit too callow for a man coming back from war who lives for adventure. Again, he sings well and is making character choices. He plays the final scene admirably. Others may like him even more than I do. I have no complaints about the rest of the cast. Kristen Lassiter is a marvelous Penelope, who makes every emotion palpable. She's the heart of the show and gives perhaps the best performance. I'm sorry to say, the men's chorus is often dreadful. Their pitches are sometimes so approximate, the chords become atonal. (I can assure you that Moross was NOT channeling Schoenberg at any time in this piece.) The orchestra is marvelous. The conductor, Jay Dias, has the piece easily in hand. He makes wise choices throughout, helping even the less-than-inspired parts sparkle. The sound does the whole enterprise proud, though it is a live recording with applause at the end of numbers. I find it a tiny price to pay.Even with my few caveats, this is an essential purchase for anyone who is interested in the history and development of the American Musical. The work is an important one, thoroughly enjoyable for most of its two hours.Compared to much of what is written today, I'll say it was sent from the gods.

At last, we can hear what the other two-thirds of this remarkable work is like. The good news is that it is the equal of the third we already know from the Original Broadway Cast recording and the original ending has been restored. The music is every bit as continually tuneful and the lyrics as stylish and poetic.When you hear the score performed in its entirety, you can understand why it wasn't a hit with the 1950's Broadway audience. It demands that you listen to it and it is witty rather than feedline, punchline funny and there is only one song, "Lazy Afternoon" that has found its way into the Great American Song Book. What a song that is though. The imagery in the lyric is magical and the tune matches it perfectly. It is perfect for its moment in the show and it is also perfect when song out of context. The rest of the score is far more woven into its concept. It serves its subject beautifully. It is also true to say that hearing the piece in tis entirety means the second act make a lot more sense. PS Classics have certainly done lovers of musical theatre a huge favour by issuing this complete recording. If nothing else, it will make the show a much easier sell to potential producers now that they can hear all the music. This recording probably deserves the description most important theatre recording of the 21st century. It is truly shameful how long we've had to wait to get it.Enthusiastic as I am about the quality of the music and lyrics, I feel that the singers in this new performance lack character. Most them sound too young for many of these characters. When you return to the Original Broadway Cast recording, you find the characters far more sharply defined. Mother Hare, Mrs Juniper, Miss Minerva and Lovey Mars sing really well but the characters are far better defined by Martha Larrimore, Charlotte Rae, Portia Nelson, and Bibi Osterwald who sing with a greater experience of life and sound totally different from each other. Christopher J. Deaton and Kristen Lassiter as Ulysses and Penelope are worthy successors to Stephen Douglass and Patricia Gillette and have the advantage of being able to sing "We've Just Begun" as the finale, which makes more sense as an ending than a reprise of "The Going Home Together", and they sing it and the rest of music beautifully. Danielle Estes is very good as Helen but Kaye Ballard was incomparable and more characterful.Too much should not be made of the above, however. The new recording is something to treasure. It is live but the audience does not overly intrude. The sound is also considerably better than that on the Original Broadway Cast recording. It is to be hoped that now a full recording is available, producers will be encouraged to give this piece another chance in performance. We'd all take another complete recording if that were to happen too.

All hail ,Tommy Krasker and PS Classics for putting this new production on to disc. It is a triumph and, despite the fact that I do not like ' live ' recordings , this one utterly fits the bill . A complete recording for those of us who have yearned for one for 50 odd years , wonderful cast , superb orchestra and a crisp clear sound .For the churlish amongst us who poo - poo the fact that this is live, I say , just listen and you'll feel like applauding too - and it doesn't happen often as the show is sung through. A triumph and marvelous to hear how complex and clever the whole score is , stunning orchestrations too .

I've owned the original cast for years and always longed for the complete score.The original cast takes some beating,especially kaye Ballard,but the cast in this live recording are excellent.The full 36 piece orchestra make the score sound wonderfull.The score might not be to everyone's taste but it sounds so original and certainly different from many shows of the 50s and thank goodness they didn't try and cast it with operatic singers.The set comes with a complete libretto but the singing is so clear It I didn't require it.For anyone interested in 1950s musicals this is a must ,the fact that it's a live recording for me is a bonus and ads to the atmosphere.

EXCELLENT

good