When was the last time you sat down and listened to a CD?
I know just
using the moniker ‘CD’ reveals my Jurassic age. We are an MP3 world or Shuffle
Song world, or many other jazzy names that I do not even know.
Anyway, back
to my question: when was the last time
you sat down and listened to a CD?
At the end
of what has been a kinda stressful week, I decided to get a CD I had bought back
in the USA over Spring Break, a CD of the 2014-15 Broadway revival of On The Town, a show I saw in the fourth
row back in January (and for $69 a seat, what is now a steal for a Broadway
show) and loved. This afternoon I thought—no one needs you for an hour or so.
Just listen…don’t multi-task, don’t put it on the ipod and shuffle. Just sit there with the warm Jordanian breeze
blowing in the window, and just listen to the music…
What a
beautiful recording. And full of memories of a magical January day in my
favorite city on earth. The sound was glorious—and why wouldn’t it be? The producers of this revival have sprung for
a 28-piece orchestra.
A little
context for those of you who do not know this 1944 gem of a show. On the
Town is a show about young people written by young people.
Twenty-somethings put this show together in 1944, the year after the
revolutionary musical Oklahoma! Brash,
young dancer-choreographer Jerome Robbins created a ballet called Fancy Free,
about three sailors on a 24-hour leave in the Big Apple. Brash, young composer Leonard Bernstein provided
the music. The ballet found success and these two creative types decided to
turn the ballet into a Broadway musical comedy. Robbins and Bernstein met up
with brash, young writers Betty Comden and Adolph Green and they all created On The Town. Their youthful exuberance
and unyielding optimism would prove some of the most infectious components in On
the Town. I had seen a revival production in 1998 that been very good, but
not great. As I listened to this CD it was clear how great this production is
and sharp the score is. Bernstein infused the score with a pulsing insistence
that captured both the ticking-clock of the story's premise and the
ever-changing beat of the city.
What
pleasures as I lay on the couch this afternoon bathing in the brassy fullness captured
on the CD.
This
recording (and the revival itself) opens with a delicious nod to history.
During World War II, many Broadway musicals dispensed with overtures and chose
to substitute “The Star Spangled Banner.” That glorious 28-piece orchestra
transports us to that wartime context, invoking the powers of patriotism and
nostalgia with their splendid rendition and powerful singing. This opening is followed by the gentle and
lazy melody of “I Feel Like I'm Not Out of Bed Yet,” sung by a quartet of
workmen who help us register how early in the morning it is. They sing it as a morning lullaby, their
voices blending in exquisite, tranquil harmonies. The muted sounds of dawn are
quickly dashed, however, when our three central sailors, the poetic hayseed
Gabey, the eager and nerdy Chip and the libidinous Ozzie, burst onto the scene
ready for 24 hours of shore leave in “New York, New York.” This explosion of
energy and melody gets our hearts beating along with the throbbing cadence of On
the Town. From this point forward, we are on a musical rocket that propels
us (and the boys) on a 24-hour whirlwind adventure.
Each sailor
sets off on their own journey, and each finds a lady along the way. Of the
three duos, the most fun are Chip and the lustful cabdriver Hildy. His need to
see every landmark in his guidebook is interpreted with dorky cluelessness and
a charming earnestness who proves a comedic asset to both the production and
this recording. He is equally matched with the zesty performance of Hildy in “Come
Up to My Place,” a tour-de-force comedy duet, one of the best ever written for
the musical theatre. Chip climbs into her cab and proceeds to insist on seeing
landmarks that no longer exist. She provides titillating alternatives, the
destination: always her apartment. Hildy drips with both sexuality and comedic
desperation, her smoky voice lending itself adeptly to humor in both this number,
and her sassy raison d'etre “I Can Cook, Too,” equivocating her skills in the
kitchen with her talents in the boudoir. She has a one-track mind.
Gabey is off
to find “Miss Turnstyles,” known as Ivy Smith, the monthly winner of a
city-wide beauty contest whose picture he has seen plastered on the subway
walls. It's a palpable longing that pours out of Gabey as he conveys Gabey's
shy reticence and deeply felt ache where matters of the heart are concerned.
You can almost buy that ‘love at first sight’ is possible and has indeed
infected this poor idealist.
Ozzie finds
his heart is quickly won over by anthropologist Clare de Loone when they bump
into each other at the Museum of Natural History in front of a caveman exhibit.
The two are a peculiar matching, but somehow their worlds collide and their
baser instincts ignite in the Neanderthal-inspired “Carried Away,” a comic duet
that is sung with verve and abandon.
But towards the
end of the CD, and thus, of course, towards the end of the show is the song
that roused tears in my eyes at the performance, and this afternoon as well as dusk
settled in. The song “Some Other Time” just got me. During the performance I
remembered a conversation I had had that week in January with Peter Filichia, a
theater critic and I guess my idol. (The
man sees between 300 and 350 shows a year. He loves the theater! He has made a
career as a critic.) But that morning when we met for coffee, he lamented that
very few Broadway shows make an “emotional connection” anymore. He misses the “Golden Age” when that was part
and parcel of a great show.
This
afternoon as the song played, and the guys knew their 24 hour leave was coming to
an end, they sang with a touch of regret and resigned acceptance as they summed
up the day's adventures each couple making their sad goodbyes. This was a
genuine-theatrical emotional connection. Here are the words from the spunky
writing duo Comden and Green:
"Some Other
Time"
Where
has the time all gone to?
Haven't done half the things we want to
Oh well, we'll catch up some other time
This day was just a token
Too many words are still unspoken
Oh well, we'll catch up some other time
Just when the fun is startin'
Comes the time for partin'
But let's just be glad for what we've had
And what's to come
There's so much more embracin'
Still to be done but time is racin'
Oh well, we'll catch up some other time
There's so much more embracin'
Still to be done but time is racin'
Oh well, we'll catch up some other time
Haven't done half the things we want to
Oh well, we'll catch up some other time
This day was just a token
Too many words are still unspoken
Oh well, we'll catch up some other time
Just when the fun is startin'
Comes the time for partin'
But let's just be glad for what we've had
And what's to come
There's so much more embracin'
Still to be done but time is racin'
Oh well, we'll catch up some other time
There's so much more embracin'
Still to be done but time is racin'
Oh well, we'll catch up some other time
Not
only did the performers make an emotional connection in this song, but it hit
me how this song, or certainly that last phrase, is my feeling when I am in the
USA before leaving. Not true sadness and certainly not tragic, but a beautiful
sigh about time well spent, and about how I will have to leave loved ones again,
and how do we part?
What
a great way to spend 70 minutes of time…listening to the gorgeous sounds,
melodies, voices and orchestrations. Certainly thinking about the US
friendships, far away in miles, but how in only about five weeks I will be back
there, and then, yes, at the end of the summer, I will sigh and utter the
classic words, we’ll catch up…some other time.