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Broadway Unplugged
Original Off-Broadway Cast Recording
 

Issued 2005
Running time 1:16- 19 tracks 
Packaged with brief notes
Bayview Records RNBW 032
List Price $16.95


Scott Siegel’s series of concerts at New York’s Town Hall has produced a number of albums on Bayview Records that make interesting listening. Many of them present songs from a single year’s season on Broadway. This one, however, spans shows from as early as Sigmond Romberg’s 1924 Innocent Eyes to as recent as 1998’s Ragtime. It has a non-chronological theme: the power of un-amplified vocal performances. This disc captures nineteen performances by some of the major names among Broadway stars of today belting out songs, many of which have never been heard without the assistance of a microphone in a hall of this size in New York.

Contents: Nineteen Broadway standards and oddities performed in concert without any electronic amplification at New York’s Town Hall in a celebration of the un-augmented human voice.

The performances are a great deal of fun. With performers such as Michael Cerveris, Chuck Cooper, Cady Huffman, Norm Lewis and Barbara Walsh, that should come as no surprise. Each is capable of getting an audience excited, and judging from the audience reactions captured on this disc, they exercise those powers on the night of September 27, 2004. With her last blast on Sondheim’s "There Won’t Be Trumpets," Ann Harada proves that she wouldn’t need a microphone even if the hall was ten times bigger than New York’s Town Hall 1,500 seat auditorium. Mark Kudisch reveals just how funny a sold-to-the-rafters number can be without a mike. (If you thought he was hysterical amplified in Thoroughly Modern Millie’s operetta send up with "Ah, Sweet Mysteries of Life/I'm Falling in Love with Someone," you’ll love his equally over the top "My Fortune Is My Face.") Alice Ripley soars on "Serenity."

Siegel provides interesting introductions to each of the songs with just a tidbit of information about the song and the performer. Those who want to click through to a specific song will appreciate the fact that the introductory commentary comes at the end of each preceding track so the song itself begins at the beginning of its track.

If there is one disappointment with this disc, and there is, it is the microphone. While those in the hall were able to hear each of the performances without any electronic middleman, the recording had to be, ugh, recorded. This recording does capture the vocal performances, the small group accompaniment and the audience enthusiasm, but it does so with a hollow echo. There must have been a battle over where to put microphones so they wouldn't be visible to the audience, all of whom purchased tickets specifically because they wanted an un-miked experience. Still, a closer, more immediate audio ambiance would have been preferable for this permanent record of what must have been a memorable night.