Great Cast Recordings That Aren't the 'Original' Casts
Melody Nicolette
Recordings exist as a time capsule, to document moments in time that could only have existed in the time that they existed in. This can be any form of media: field recordings of birds that have gone extinct, moving images that capture the great moments, or, for the purposes of this piece, cast recordings that capture a specific moment in a specific production for posterity to the end of time.
When we think of “cast recordings,” we think of “the original Broadway casts.” We don’t always think about the revival casts, recordings in other languages, or revisits. While the original revival cast of something IS the “original cast,” it might not be treated or respected with the same weight as the “original.” We very rarely get tour and replacement cast recordings. Some shows, such as HELLO, DOLLY! and Les Misérables, have many, many multiple cast recordings. Some shows will only ever get one, and only through bootlegs *cough* will other performers in those same roles be able to seen (and rarely get their due).
Here is a short collection of cast recordings that were not the “original” casts, but are very special, nonetheless and worth sitting down with some good headphones to enjoy. Most of these are readily available, some of them require a bit more hunting down. All of which are worth the time and effort.
Nelson Eddy in OKLAHOMA!
Special Notes: One of the first recordings to include ‘Lonely Room,’ and was marketed as “a complete score,” but does not have the Finale Ultimo. :(
Available on all digital music platforms and for purchase.
It’s a shame that this has only ever existed as a special studio cast recording, and was not a full production.
I should preface this before moving any further by saying that I am not a fan of OKLAHOMA!, and avoid it at all costs. The music leaves a lot to be desired in many areas, the show completely erases Native people (even in more recent productions), and for whatever God-forsaken reason, productions continue to whitewash Ali Hakim (WTF). A lot of the material is triggering (not in the flippant 4Chan sort of way, but in the actual clinical way; why Laurey being assaulted and gaslit about being stalked-- and not necessarily responding to it in the best way-- is treated like a joke I’ll never understand). OKLAHOMA! is a hard pass,... but Nelson Eddy is forever an emphatic YES!
While I may have never emotionally recovered from ‘The Whale Who Wanted to Sing at the Met,’ I will always hold a very treasured place in my heart for Nelson Eddy. This is the perfect cast recording. Nelson Eddy was, and forever will be, a star for a reason. He has a perfect voice. He is perfectly matched with Virgina Haskins as Laurey. This is an all-star perfect cast. There is not a weak link to be found.
HELLO, DOLLY! (with Pearl Bailey and Cab Calloway)
1967, RCA (original), (Masterworks Broadway now distributes it)
Special Notes: Features an All-Black Cast!
Available on all digital music platforms and for purchase.
While HELLO, DOLLY! (affectionately referred to as “Hell No Dolly” by yours truly) is another one of those jaundiced relics that should be avoided at all cost (sorry, not sorry), I absolutely love love love LOVE this recording. Pearl Bailey is perfect, as always, and she and Cab Calloway together are an actual dream team. This recording has just some spectacular singing across the board. This is another cast album where this is the only version of this material I will tolerate.
CAROUSEL: Music Theater Of Lincoln Center (1965 New York Revival)
1965, RCA (original) (Masterworks Broadway now distributes it)
Special Notes: 20th Anniversary recording, highlighted with the return of John Raitt. Jerry Orbach plays Jigger. Susan Watson as Carrie steals the show. Available on all digital music platforms and for purchase.
On this recording, while John Raitt’s voice is stronger and even more beautiful than it was in 1945, the sheer clarity and jump in recording technology are astounding. I know that this is inevitable, given the passing of time and the advancement of technology, and how we are used to things just improving rapidly now--something about this is a little different. Not only are the voices more clear, and the acting more evident, but, even with the 10th-anniversary recording, there were still issues with over-dictation and a delay in the music and voice. For, perhaps the first time, those who were unable to see it on Broadway or on a national tour could hear the music in a real-time way. Some of the tracks are sequenced in different order to accommodate the LP format, and, sadly, for this very reason “Geraniums in the Winder” has also been cut.
Les Misérables (1991 Paris Revival Cast Recording)
1991, Trema
Special Notes: This was the first time the show had been performed in French since the original 1980 French concept album/ version of the show--talk about full circle. The lyrics are a mixture of the OFC and new translations. It’s also a near-complete recording. Available on all digital music platforms and for purchase.
Also known as ‘Les misérables (Paris, Thèâtre Mogador 1991)’, or simply ‘Les misérables PARIS,’ this is perhaps the best cast recording of this show. Les Miz is unique in that there are literally a bazillion different cast recordings, in multiple languages. Many of the cast members in the Paris revival were from the Montréal production. This is the strongest cast of all of the recordings with the most uniform sound. Stéphanie Martin is a true stand out star; while I was surprised they didn’t choose to make her Éponine edgier and closer to the Brick (like the did with Frances Ruffelle, who was modeled after Piaf), Martin has a gorgeous voice that works with the character and her acting is really where the personality shines. Marie Zamora is the absolute Cosette. Jérôme Pradon’s voice might not be for everyone, but it’s a glove fit here. It’s a deeply emotional recording; a lot of that can be credited to the French lyrics. As previously mentioned, the lyrics are a combination of the original concept lyrics and new translations--both of which are vastly superior to a lot of the clumsy English ones. (The 2009 Québec production used the same translations, and were also a sensational cast.)
My love for Les Misérables is no more; it was ruined for me, and I will never be able to get it back, but this cast recording has a soft spot in my heart.
BRIGADOON (México City Cast Recording)
1960, Stage Door
Special Notes: Who knew you needed a recording of songs set in the Scottish Highlands sung in México City Spanish? Not available to stream or purchase in the US--but is available in the UK, Mexico and other Spanish speaking countries. You can also try to track down physical copies.
It’s a shame this cannot be found easily in the US because it’s one of the most lovely of all the BRIGADOON cast recordings. (You’d think with the high population of Spanish speakers in the US this would be more readily available.) I had to have someone buy this in the UK and send it to me. I am very glad that I did. Spanish speakers rejoice--the translations are gorgeous. “Ven a mí” is, dare I say it, almost superior to its original English counterpart (and reminiscent of Las Serenatas). Graciela Garza is the most lovely Fiona and Jorge Lagunez is the perfect Charlie.
You can stream it (or preview it) here.
Songs from BRIGADOON and other favorites (conducted by Camarata)
1966, Disneyland Records
Special Notes: Not a complete cast recording, and is a studio cast recording; b-side features traditional Scottish folk songs.
Only available through LP (while some outlets offer a CD transfer). A bit challenging to track down, but worth it.
Fun fact about this LP--I had no idea that it existed until 2 years ago. Someone sent it to me for my birthday through Amazon (anonymously!--jeez, you want to talk about ~*☆Brigadoon!☆*~ --thank you,... whomever you are!?). I was totally blind-sided by receiving it. Aside from the weird left-field anon gift aspect of it, how did I not know this existed?! This has “Melody” written all over it--Disney?🗸 Brigadoon?🗸 Mid-Century Goodness?🗸
This is probably my all-time favorite recording of these songs, and it’s a shame it’s not the full show. It’s very obvious extensive research was done for the arrangements to make them even more like traditional Scottish music. The voices are gorgeous. It has a lot of the mid-century vocal arrangements we associate with Disney perfectly blend with the Scottish embellishments. It’s such a shame that this isn’t more widely available. This record is conducted by Disney legend and master musician Camarata.
It’s also a shame that this, like the Nelson Eddy recording of OKLAHOMA!, was only ever a studio cast recording. Given the way Gene Kelly ruined the film version of Brigadoon by making it an ego-stroking “star vehicle,” and the way that Disney demonstrated they could both make the music more authentic and hire people who could actually command the material, it’s a shame that we never got to see this fully realized in the way it should have been. Lost to the ages, just like Brigadoon itself, I guess.
Happy listening!
Melody Nicolette is a freelance writer, Internets yeller, smol angry bean, coloratura soprano, recording artist, record producer, painter, and justice enthusiast with a lot of feelings about things, who can be found online wherever ‘@’ is a thing @lebasfondmusic.