E. Y. Harburg, Jule Styne - Darling Of The Day (1968 Original Broadway Cast)
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Music CD Cover Artist: E. Y. Harburg, Jule Styne Edition: Music CD Format: Cast Recording CD Release Date: 1998-11-10 Music Label: RCA Soundtracks:
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| New | woodsboy | New Mint -- still in shrink wrap, never touched by human hands! This is apparently one of the last remaining copies of this exciting musical Vincent Price is the leading man! Order it now and we will do our best to have it on its way to you within the hour (we practically live in the Post Office)! All our CDs come from a private estate and have been lovingly cared for. We absolutely guarantee all of them and will work hard to make you happy! Free upgrade to First Class shipping, Delivery Confirmation and we pack securely! International orders welcome. Usually ships in 1-2 business days | $87.55 |
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Free Music Notes for Darling Of The Day (1968 Original Broadway Cast) Album
Free Music Review: Greatly Overlooked Score and Performances
Hit: 4 Stars
The more I hear of Jule Styne's musical work, the more convinced I become that he was probably the best composer in musical theater in the 1950s and 1960s (up against such heavy hitters as Richard Rodgers, Irving Berlin, Frank Loesser and Frederick Loewe). His high-quality work continued into the late 1960s as well, when he had two musicals -- Darling of the Day and Hallelujiah, Baby(both financial flops) -- which both feature glorious scores. Darling of the Day is particularly noteworthy, because it not only features a great score (mixing waltz, British music hall, and Rex Harrison-like talk-speak numbers), but brilliant lyrics from Yip Harburg (whose work includes The Wizard of Oz and Finian's Rainbow) and wonderful performances from Vincent Price and (especially) Patricia Routledge.For wonderful talk-speak numbers, listen to Price's piece of "He's a Genius" and the delightful "Butler in the Abbey". For beautiful ballads, listen to Routledge's wonderful renditions of "Let's See What Happens" and "That Something Extra Special". For music hall at its best, Routledge's rendition of "Not on Your Nellie" is all one could ask.
The tragedy of this show is that it suffered from some particularly vicious reviews on opening (ironically, most of the better respected critics of the day -- i.e., Clive Barnes and Walter Kerr -- absolutely loved it). Although it is impossible to tell what the book was like from the CD (and, according to many critics, this is where one of the problems lay), I find it difficult to believe that someone who actually listened to the score could dislike it.
All in all, a show whose music should be rediscovered.