The Show Goes On- A Portfolio Of Theater Songs By Tom Jones &a

Roadside (2001 Off-Broadway Cast)	Celebration (1969 Original Broadway Cast)	I Do! I Do! (1996 Off-Broadway Revival Cast)	In The Heights Get ready to experience an exhilarating journey into one of Manhattan's most vibrant communities, named "BEST MUSICAL OF THE YEAR" by NewYork Magazine and "BEST OF 2007" by The New York Times. With an amazing cast, incredible dancing and a gripping story of hope and self discover...	110 in the Shade (2007 Broadway Revival Cast) More than four decades after its Broadway debut, the Roundabout Theatre's 2007 revival of 110 in the Shade is a glorious showcase for soprano Audra McDonald, and an eloquent statement for an underrated and neglected work. Based on N. Richard Nash's play The Rainmaker, 110 in th...
Rodgers and Hammerstein's South Pacific (The New Broadway Cast) The landmark musical's first-ever Broadway revival! The curtain rang down on Rodgers & Hammerstein's South Pacific in 1954 after five years of extraordinary acclaim and countless awards including nine Tonys and a Pulitzer. Based on James Michener's Pulitzer Prize winning book T...	Adrift in Macao A zany film noir parody hearkening back to the days when leading men were hard-boiled, dames were beautiful but dangerous, and musicals were filled with tunes so playfully catchy you couldn't dislodge them from your brain if your life depended on it. Book and lyrics by one of Ame...	The Fantasticks (Original 1960 Off-Off Broadway Cast) On May 3, 1960, a chamber-sized variation on Romeo and Juliet by composer Harvey Schmidt and writer-lyricist Tom Jones opened off-off-Broadway at the Sullivan Street Playhouse. On May 3, 2000, The Fantasticks opened again at the Sullivan Street Playhouse, celebrating 40 continuou...	I Do! I Do! (1966 Original Broadway Cast)	A Catered Affair (Original Broadway Cast Recording) A Catered Affair, the new musical with book by four-time Tony Award-winner Harvey Fierstein, score by John Bucchino and direction by Tony Award-winner John Doyle, poses the question that inevitably faces every mother and daughter: whose wedding is it anyway? It's 1953, and family...

Heaven in an album
Harvey Schmidt and Tom Jones may "suffer" from having written one of the all-time greatest theatrical smash hits in "The Fantasticks" in that the remainder of their work (and it spans four decades) is often pushed to the wayside. Yes, the two wrote more than "Try To Remember", and this album, featuring the two songwriters with three delightful backup vocalists takes the listener on an educational and entertaining journey through their career, with detours down some paths not taken, in the form of songs cut from shows or which were substantially reworked.Highlights include Jones's remeniscing about Gower Champion calling with the idea for "I Do! I Do!", a selection of songs from "Celebration" (since the cast recording is long out of print, this is really the only commercial recording of any of the songs that I know of), and a couple of novelty numbers ("Mr. Off Broadway" could, with a name-change here or there, be just as topical now as when first written, despite Jones's comments, and "Wonderful Way to Die" from "The Bone Room" is an absolute hoot).I saw Schmidt and Jones at the York theater, and this cast recording captures the charm and delight which this wonderful pair continues to bring to live musical theatre.

Entertaining record of their Off-Broadway revue
The music is enjoyable, and it is always a treat to hear composers perform their own work, but this isn't one that will be played over and over. The treats on this album are the songs not available on the original cast recordings of their works, but many of the songs are abbreviated into mere snippets (most of the selections from Celebration), and the material tends to be I DO, I DO heavy. I would have appreciated the inclusion of some of the music from PHILEMON, and more from BONE ROOM, and COLLETTE.While not a perfect recording, the listener DOES get the sense that they are there in the theatre ( although the audience on the recording does react to many visuals which are of course lost to the listener), and not in a cold recording studio.