The Cradle Will Rock: Original 1985 Cast Recording
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Free Music Notes for The Cradle Will Rock: Original 1985 Cast Recording
Free Music Review: The left wing "Oklahoma"
Hit: 5 Stars
"The Cradle Will Rock" has actually, as noted below, been rediscovered many, many times. Anti-union tactics may have become more sophisticated than just blowing someone up, but the theme is if anything more jermaine today than it was in the late 30s (or as much so). If Blitzstein wrote it today, he would reference out-sourcing and computer vote theft. This was the real precusor of "Rent" and "Urinetown". I've heard the full orchestra score, which is very good given Blitzstein was a fully trained classical composer (unusual for a Broadway composer, Sondheim for instance doesn't orchestrate his own scores) but the piano score used here is perhaps slightly preferable given the story, a plainess suits it (the full orchestra score should be recorded, of course). Even with Brecht's invaluable advice inspiring the creation of the show, the book is lumpy - librettos were Blitzstein's Achilles heel, over and over. But Lupone is a wonderful Moll, the rest of the cast are very effective actors singing and it's very simply and tautly directed. It's fun to hear the original Welles recordings with Blitzstein but for the best recording this is it. That first CD with Houseman's memories is nice, but they might have added Blitzstein's recording of his version of the opening night, given the available space.
In opposition to the reviewer suggesting this should be left out of any Broadway collection, it is a seminal work that is less dated than "Oklahoma" if deliberately less melodic. It belongs in every collection, and if it were it wouldn't have to be rediscovered every five to ten years.
Free Music Review: A Re-Discovered Treasure
Hit: 5 Stars
Thanks to Tim Robbins' movie, this gutsy left-wing anthem is being re-discovered, and in my case discovered for the first time. I can't compare this production to others, but the performances here contained the same passion and energy as those in the film. Patty Lupone, as usual, is first-rate. More important, this production makes us appreciate the vitality and eclecticism of Blitzstein's remarkable score, and makes us understand why he is credited with influencing Bernstein and Sondheim. The timelessness of the music allows us to overlook the somewhat dated nature of the material. As a bonus, this recording also gives us John Houseman's introduction, which provides some interesting tidbits about the world premiere that were not covered in the movie.Free Music Review: More "Cradle" than you think
Hit: 5 Stars
There have been many successful revivals of this work than many think. Bernstein did it with piano in the late forties, then conducted the first production with Blitzstein's full pit later. Another recorded production (1964: MGM Records) most may have forgotten because it is out of print was one directed by Howard DaSilva (the original Larry Foreman) done with piano with none other than Jerry Orbach as Larry: who better to play Larry Foreman than Lenny Brisco. The great Micki Grant, Joe Bova, and Laurie Peters are also in it. Alas, hard to find but this is NOT a newly re-discovered work by any stretch.Free Music Review: A must-have
Hit: 5 Stars
My parents had a recording of this on 8" reel tape when I was a kid. We listened to it a lot, along with the Fantastiks and a few other stage pieces. At eight I loved "the nickle under my foot." Now at forty-nine I am remembering so many parts that flew over my young head in earlier days! And love listening to of all people Patti Lupone as Moll... I once heard her in London doing Evita, and the range between those two parts...holy schnikes but she's good. As are the rest of this cast!Free Music Review: Best recording of this work to date, better than the film
Hit: 4 Stars
This excellent recording is a document of the 1985 Acting Company production that was directed by John Houseman, who provides a 12-minute spoken introduction to the recording on a separate CD. Houseman's introduction has much less interest on the second and later listening, and it seems to be a waste to leave that CD with only that short amount of recorded time. The second CD contains all the music of the play, some 79 minutes.Patti Lupone is an intriguing casting choice for Moll, for Lupone has all the range and stamina and charisma necessary to carry a leading role. However, the role of Moll is a key minor character that Lupone reveals in this recording a full dimensionality that is not available in the other recordings of Cradle Will Rock: not just the tough cookie paradigm of the prostitute, but also the naïf in the midst of wolves, down on her luck.
And such a lot of wolves there are, fully revealed in this recording: Reverend Salvation's costume covers another form of prostitution; Cops stand everywhere with a palm ready for greasing; Editor Daily acts not only as a publisher but also as a pimp and procurer. The performances make the characters full of life and their personalities more rounded than one would expect from their generic names, Dr. Specialist; Jr. Mister; and the rogue above all, Mr. Mister. It is easy to assume the entire script is included in the recording, as smooth editing has obliterated any breaks. One indication that cutting may have occurred is the late appearance of Larry Foreman, in Scene Seven, à la Waiting For Godot.
Miking of the cast is very satisfactory, especially in comparison to the recording of the original Broadway Cast. All vocal lines are distinct. As in the other recordings, a simple piano accompaniment is retained from the original performance, even though a careful listening reveals clearly that the original was scored for a small orchestra.
The performances are a good blend of musicality and character. The accompaniment shows Blitzstein's familiarity with classical music, Sprechstimme, the musical theatre of Weill/Brecht, and, of course, popular song. This recording strengthens the artistic concept that Blitzstein had developed, and it provides reason for our sense of loss with Blitzstein's relative absence from the concert stage and theatre revivals. Perhaps we will be always lucky to have other composers like Stephen Sondheim, who must have been familiar enough with "Art For Art's Sake" (Scene Six) to use it as an inspiration for "Putting It Together" of Sunday In the Park With George. Too bad that Andrew Lloyd Weber hasn't the same awareness of good precursors.
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