Search - Jule Styne, Stephen Sondheim, Angela Lansbury :: Gypsy (1973 Original London Cast)

Gypsy (1973 Original London Cast)
Jule Styne, Stephen Sondheim, Angela Lansbury
Gypsy (1973 Original London Cast)
Genres: Pop, Soundtracks, Broadway & Vocalists
 
  •  Track Listings (14) - Disc #1


      
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CD Details

All Artists: Jule Styne, Stephen Sondheim, Angela Lansbury
Title: Gypsy (1973 Original London Cast)
Members Wishing: 1
Total Copies: 0
Label: RCA Victor Broadway
Release Date: 8/21/1990
Album Type: Cast Recording
Genres: Pop, Soundtracks, Broadway & Vocalists
Style: Musicals
Number of Discs: 1
SwapaCD Credits: 1
UPCs: 090266057122, 090266057146

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CD Reviews

Watch Out World Here's Rose
Jim Jr | Buffalo, NY United States | 07/02/2000
(5 out of 5 stars)

"I saw Ethel Merman attempt to play "Rose" in "Gypsy" twice. All she did was stand and yell the songs and had no subtlties in her character. She just played a nasty person with no redeaming features. The big number, "Rose's Turn", at the end of the show was very unpleasant as she came out seeming to say: "Here's my big number and I want applause!" Then I was lucky enough to see Angela Lansbury who made "Rose" a real person, with a magnificant performance that showed many facets of a complex woman. She sang better than Merman as she really tried to shade her numbers to bring out the real person this woman should be. Yes, she could "belt" the numbers when necessary but never shout them as Merman did. I know this musical well as I have played "Herbie" the male lead, so understand the characters and their relationships. Even on this album, not seeing her performance in person, Miss Lansbury comes across as a wonderful, real character. It is a performance to treasure. The first time you hear some of the English accents, it might seem strange, but then you realize that the "newsboys - Baby June" numbers are purposly done poorly as the act was not a good one and has to come over that way. It is just the right touch for those numbers. Listening to "Rose's Turn" by Lansbury is chilling as you can hear the woman coming close to a breakdown as it should be. This has become my favorite version of one of the best scores ever written for a Broadway musical because of the superb Angela Lansbury."
Fabulous
06/20/2000
(5 out of 5 stars)

"If you just want to listen to Gypsy for a loud brash singer, then get the original 1959 (with Ethel Merman). If you want a recording that's indicative of the drama and the entire production and of Angela Lansbury's incredible performance, then buy this album. I own four different recordings of this show (including Merman, Tyne Daly and Bette Midler) and this one puts them all behind."
The legendary Angela Landsbury performance as Mama Rose
Lawrance M. Bernabo | The Zenith City, Duluth, Minnesota | 03/25/2001
(5 out of 5 stars)

"The part Mama Rose, originally written for Ethel Merman, is to Broadway musicals what Hamlet is to Shakespeare. This is only a slight exaggeration when you consider how often this musical is revived and/or filmed, but what mature actress would not want to get a chance to do "Rose's Turn" on stage for a live audience? This Original London Cast recording captures what many of those who saw it live consider to be the quintessential performance of the role by Angela Lansbury. "Suggested" by the memoirs of legendary stripper Gypsy Rose Lee, "Gypsy" has Music by Jule Styne and Lyrics by Stephen Sondheim, with a book by Arthur Laurents. The legendary story of the ultimate Stage Mother who pushed her daughters to be vaudeville stars is well known by now. There might not be a more powerful ending to Act I in musical theater than Rose doing "Everything's Coming Up Roses" while her lover and her daughter watch on in absolute horror. Abandoned by her first born daughter June, at the moment when she should finally pack up and go home, Rose turns to the daughter she has ignored and predicts imminent stardom. The irony is palatable and there is nothing Louise can do to get away from her mom. Throughout the show irony invests every song with added depth of meaning from the opening "Let Me Entertain You" (which takes on a whole new meaning in "The Strip") to the plaintive "Little Lamb" sung by an abandoned Louise on her birthday to the false communion of "Together." The ultimate irony, of course, is the transformation of Louise into the legendary performer Gypsy Rose Lee since it is due to happenstance rather than the determined effort of Mama Rose. Her mother might force her out on stage, but the magic belongs to Louise and Rose will never forgive her for that betrayal. This is really a painful story of people caught by love in destructive relationships and it is absolutely impossible to turn away from what is happening. The reconciliation between mother and daughter at the end always seems somewhat forced to me, but then it is clear from the beginning that Rose only accepts love and life on her terms and there is nothing that Louise or anybody else can do about it, all of which comes out in the glorious final eruption of "Rose's Turn." "Gypsy" is truly one of the greatest of Broadway musicals. Final note on Irony: 20 years ago I saw June Havok--yes, the original Baby June--as Mrs. Lovett in a touring company of "Sweeney Todd." Apparently you can run from Mama Rose, but you can never get completely away."