I’m happy to announce a new master release. So far, this audio master is the highest quality release I’ve made yet, and I’m very proud of this recording:
Girl From the North Country | 1st US National Tour, Dr Phillips PAC, Orlando, FL | September 25, 2024 Evening | auntbeast’s master | Audio
NFT Status: NFT until October 25, 2024
Cast: Jennifer Blood (Elizabeth Laine), Ben Biggers (Gene Laine), Matt Manuel (Joe Scott), Chiara Trentalange (Katherine Draper), David Benoit (Mr. Burke), Jill Van Velzer (Mrs. Burke), John Schiappa (Nick Laine), Sharaè Moultrie (Marianne Laine), Aiden Wharton (Elias Burke), Jay Russell (Mr. Perry), Jeremy Webb (Reverend Marlowe), Carla Woods (Mrs. Neilsen), Alan Ariano (Dr. Walker), Rayla Garske (Ensemble)
Master Notes: Great audio capture. Some rustling and noises throughout, especially in the first minutes of each act, but otherwise a fantastic and very listenable complete recording of GFTNC. The finale Pressing On is incredible. Folder includes Tracked and Untracked MP3 as well as Playbill Scans.
Original Format: MP3 (Tracked & Untracked) – 613 MB
What a wonderful week I’ve had! I’m very pleased to announce the release of a new master:
Shrek | 3rd National Tour, Van Wezel PAC, Sarasota, FL | September 24, 2024 Evening | auntbeast’s master | Audio
NFT Status: NFT until 10/24/2024
Cast: Nicholas Hambruch (Shrek), Kelly Prendergast (Fiona), Naphtali Yaakov Curry (Donkey), Timmy Lewis (Lord Farquaad), Cynthia Ana Rivera (u/s Dragon), JRay Kuhn (Pinocchio), Ally Choe (Sugar Plum Fairy / Gingy / Young Fiona), Sage Jepson (Big Bad Wolf), Leon Ray (Pig 1), John Cardenas (u/s Pig 2), Carson Zoch (Pig 3), Demetrio Alomar (Papa Ogre / Papa Bear), Casey Lamont (u/s Mama Bear), Zack Perrin (u/s Papa Bear), Hope Schafer (Mama Ogre / Wicked Witch), Katherine Paladichuk (Teen Fiona / Peter Pan), Kiana Clarke (Ugly Duckling)
Master Notes: Complete audio recording of this touring production of Shrek at the Van Wezel PAC. Audio taken from back row with a rowdy and packed audience. Despite the noise and excitement the recording is listenable and very enjoyable. Includes Tracked and Untracked MP3 audio Also includes end of show talkback with cast members taking questions from audience members.
Original Format: MP3 (Tracked & Untracked) – 589 MB
Stephen Schwartz’s Snapshots: A Musical Scrapbook | Winter Park Playhouse, Winter Park, FL | September 20, 2024 Matinee (Final Preview) | auntbeast’s master | Audio
NFT Status: NFT until 10/20/2024
Cast: Charles Stevens (Dan), Pedro Ka’awaloa (Daniel), Michael Drolet (Danny), Melissa Whitworth (Sue), Mahalia Gronigan (Susan), Avianna Tato (Susie)
Master Notes: Great recording of the final preview of this Southeast Regional Premiere production at Winter Park Playhouse in Winter Park, FL. Folder includes Tracked and Untracked MP3 and Program Scans.
Original Format: MP3 (Tracked & Untracked) – 548 MB
I can’t believe this show is 150 years old. It’s amazing to see how well today’s audience responds to Gilbert and Sullivan’s work. I had such a great time at this performance and I am so delighted to announce this new audio master:
The Pirates of Penzance | Central Florida Vocal Arts, Orlando, FL | August 11, 2024 Matinee | (auntbeast’s master)
NFT: NFT until 09/11/2024
Cast: AJ Morales (Frederic), Sarah Beth Ganey (Mabel), Chris Teixeira (The Pirate King), Eric Pinder (Major-General Stanley), Susan Neves (Ruth), Kenny Nisbett (Samuel), Katy Garner (Edith), Stephanie Diaz (Kate), Deanna L. Giron (Isabel), Jacob Pence (Sergeant of Police)
Trading Notes: Lovely audio capture of this Central Florida Vocal Arts production at the Pugh Theater, Dr Phillips Center, Orlando, FL. Some minor disruptions: latecomers, a cell phone during the overture, and some repositioning on my part during applause breaks, but overall a nice capture. I was conveniently seated 20 feet directly below the speaker on balcony box right. Folder include Tracked and Untracked MP3 and playbill scans.
It’s so great to see Jonathan Larson’s Rent being revived so often in our time! Rent was one of the first shows I saw on Broadway and one of the first musicals whose score I fell in love with as a teenager. It was great to see it produced at my local theater and I am very happy to announce this new master release:
Rent | Dr. Phillips Center, Orlando, FL | August 04, 2024 Matinee (Closing) | (auntbeast’s master) NFT: NFT until 09/04/2024
Cast: Jackson Chase (Mark Cohen), Zachary Racine (Roger Davis), Rachel Geib (Mimi Márquez), Delaney Carroll (Maureen Johnson), Daniel Porea Jr. (Tom Collins), Edgar Sanchez (Angel Dumott Schunard), Jamason Belgrave (Benjamin Coffin III), Amber Woolcott (Joanne Jefferson)
Trading Notes: Closing Mat decent full audio capture of this local AdventHealth School of the Arts production of RENT at Steinmetz Hall, Dr Phillips Center, Orlando, FL. Some technical issues with actor mics, some loud set transitions, and some unnecessary adjustments on my part. But a nice recording of a lovely local production. Folder includes Tracked and Untracked MP3 and playbill scans.
If you would like to add this recording to your collection, please don’t hesitate to contact me.
I’m very happy to announce a fresh new audio master release: “Rocky Horror Show – Jobsite Theater, Tampa, FL – July 31, 2024 Evening – (auntbeast’s master)”
This new audio is available with tracked and untracked high quality MP3. This local production was not short at all on talent. The cast’s energy was high, the live band was on point and audience participation was fantastic. There were plenty of Florida-themed jokes sprinkled throughout the evening which cause for some strong audience reactions. I was lucky to be very near a front speaker and I did not need to post apply any amplification to the recording. The quality is mostly clear and very listenable. This was a lovely and memorable evening for me and I’m so happy to have captured it forever.
This recording is NFT (Not For Trade) except through me until August 31 2024. After this date it is tradable and giftable at your own discretion.
The trading folder is 385 MB in size and comes with Tracked MP3, Untracked MP3, Playbill scans, cover art, cast list and master notes.
The passage of time has become a regular topic of conversation this year. Musical adaptations of popular movies can be hit or miss for me so I was apprehensive to listen to this album originally. Boy am I not kidding when I say I’ve listened to this album at least once a day for the last 2 weeks. Many of the songs are short and serve, presumably, to connect certain points in the story. But the melodies are so sweet and the entire album plays out as one long song. It’s quite beautiful and full of wonderful melodies.
Time The clock is captured instantly in this opening number. The ticking, or plucking, of guitar strings will be a recurring motif throughout Michaelson’s score. This opening number introduces the main characters in a moderate tempo ballad with overlapping, interconnected polyphonic voices. The lyrics are as simple as can be without impacting quality of the libretto. Michaelson does a good job with straightforward story telling and cadence of the sentences matching the musical phrase structure.
Leave the Light On Oh boy, it’s hard to keep the tears inside my head. After a few small introductory tunes, Ryan Vasquez graces us with this beautiful solo. This pop number stands out to me on the album. Out of context it is a nice song and it is the first song I heard before the album fully released. But musically it makes so much sense in the context of the full album. A violin and piano playfully converse with the ticking of the guitar clock. There is nothing complicated about the hook, which I love, but it really hooks you in: but I’ll leave the light on anyway.
I Wanna Go Back Oh gosh more tears. Again a simple melody that tugs on my heartstrings. The harmonies in the first verse lead up to a simple and mournful sigh: I didn’t know that the last time I’d leave the house was the last time I’d leave the house. Michaelson accents certain phrases with minor chords which contrast to the big major 3rd and 5th harmonies of the chorus.
If This Is Love Yes, this is love, I am in love with this album. I know I keep mentioning the simplicity of the score, but this song is such a good example. The song starts on a single note repeated. Singer Jordan Tyson has a simple melody to work with but exudes so much emotion in a short span of the song. The orchestrations are simple and bouncy against the heartbeat of the 4/4 plucking guitar and a short oboe solo accompanies Tyson during the verse about the caged bird. The last minute of the song, the bridge leading into the last chorus, is absolute sonic heaven:
If this is love I think I’m in itand in between it and upside down. If this is love. If this is love. This is what all the songs are about This is why I have to break out. This is what I can’t live without I am ready now, I am ready for love!
Kiss Me A romantic song with beautiful, soaring harmonies. Pretty easy to put on repeat. There is nothing complicated about Michaelson’s song structure here but with regard to capturing the feeling of butterflies in the stomach, she really knocks it out of the ballpark on this one.
Forever This sounds like the finale to Act 1 but I am not certain. Unlike all the other tracks, this song is over 5 minutes long and features several dialogue interludes between verses. Michaelson does not rush this studio recording of this song and it’s nice to hear how some of the spoken dialogue plays out. This song is definitely best in the context of the full album, I’m not sure I’ve put this song on any playlists to listen to standalone. But it’s a powerful track that feels very immersive with the rain and theatrics/acting.
Iron In The Fridge A small, simple song with a gorgeous chorus. Dorian Harewood sings beautifully but mostly this song holds my hand as I cry for loved ones getting older.
My Days Pretty much the best song on the album, hands down. Michaelson hooks you in on the first verse and chorus which are stripped bare. Joy Woods has beautiful pitch and tone and her voice is very fitting here. The second verse brings in more orchestrations and a bouncing/rolling tempo. And the final chorus and outro are big soaring belting outstanding vocals and I can listen to on repeat over and over and over again.
Coda Lots of tears. And and the end, big harmonies and a key change to boot!
Overall I highly recommend this album. Each track feels so cohesive and there is no one song that feels out of place. I hope I can make a trip up to New York in the near future to see this production.
The first concert I ever went to was Alanis Morissette in Seattle in 2000. Needless to say, her music had a huge impact on my teenage years and into my adult life. I never thought in a million years that my love for Alanis and my love for Broadway theater would collide.
The songs from the original album translate surprising well to the Jukebox Musical format. And, while the original album is not necessarily a “concept album” by itself, the original song lyrics required very little altering to fit together into a cohesive storyline. I guess credit for that goes to Diablo Cody’s ability to translate Alanis’ lyrics to a modern and relevant narrative.
Not only is every track from the original 1995 Album represented here on the Cast Recording, but additional tracks, mostly from her albums Supposed… and Under Rug Swept, as well as a couple new songs written for the musical, are included as well.
My favorite tracks: Smiling New song written for the musical. This song is haunting and on stage it all the character motions play out backwards, or in reverse time, and the result is chilling.
Perfect Alanis’ music and lyrics being sung through a strong male voice hits me on a personal level. Props to Derek Klena for pulling off this solo ballad. It is fairly early in the show but it does not slow the show, nor does it bring the energy down.
That I Would Be Good This song has been changed from a more linear one dimensional solo track to a polyphonic quartet(?) of sorts. This song comes from Alanis’ sophomore album Supposed Former Infatuation Junkie and is a decent, melancholy tune, but it really reaches out to new dimensions in this production.
Unprodigal Daughter Catchy tune that keeps you on your toes. The bridge is especially delicious pop. Shout out to Alanis for including this random B-Side from her 3rd album Under Rug Swept. I know I wasn’t the only longtime Alanis fan thrilled to see this song on the album list. What a throw back!
One day I’ll saddle back and speak foreign adventures One day I’ll double back and tell you about these unfettered years One day I’ll look back and feel something other than relieved Glad that I left when I did, I know you, you can’t get the best of me
And the kicker at the end:
I’d invite you but I’m busy being unoppressed
You Oughta Know Lauren Patton earns her Tony Award for this tremendous performance. Full audience standing ovations are rare mid-performance, but this number received one when I saw it in New York in early 2020. Well deserved to say the least. This song is electrifying and the studio recording does not hold back.
You Learn The finale is lovely and much more interesting than the original 1995 track. The original is good but it is very repetitive and all the background vocals are just Alanis’ own voice duplicated. The creativity here is taking a repetitive track and making it interesting for 5 minutes, which I feel that they have succeeded at. The harmonies are bright and vocals feel warm and strong. The inclusion of Thank U song melody and lyrics overlapping the last chorus is a nice touch.
In summary, it is such joy to see Alanis’ iconic album immortalized in the form of a Broadway musical. As Jukebox Musicals can be hit or miss, I feel that the creators did a great job showcasing the emotional power and complexities of the source material. Alanis really elevates the Jukebox musical experience by treating Jagged Little Pill as a concept album that can be expanded and built on, musically and lyrically. I look forward to see how the musical evolves in my lifetime.
Here is Lauren Patton mental-breakdown interpretive-dancing-to-find-God energy. Quality is not studio or pro, but you can feeeeeeeel it, man:
Since Covid, and probably before, it’s been harder to find new musicals that spark up that boyhood excitement of hearing a new show. Three tracks from the new show Lempicka were released in 2022 in a digital release titled “Suite 1.” What a breath of fresh air! As a big fan of Witness Uganda, I was excited to see Matt Gould as composer of this new addition to Broadway.
Woman Is Big 11 o clock number that doesn’t leave you snoozing. Gould’s melody is catchy without being repetitive. with periods of mellow piano/vocal followed by more layered orchestrations over a buzzing percussion. Eden Espinosa hits some impressively high notes to articulate Kreiter’s lyrics. The song is beautiful and sensual and you can feel Eden’s heartrate beat faster and faster through her opium-induced love fever-dream.
Black night, bodies and breath, I am alive Black water, roll me another one Tobacco and opium, I am on fire Please let me blow the smoke into your open mouth Here in the light
Perfection The more I listen to it, the more I like it. Sounds like something doomsday villain-pop out of Metropolis, Chess or Hadestown. George Abud keeps us captivated during the opening which is not very melodic and some of it is sung-spoken. When the chorus and drums come in, Abud shows us his ability to sell a melody. Gives me Murray Head singing One Night in Bangkok vibes. The orchestrations are weird and bouncy and it feels a little ahead of it’s time. Like is this the future of Broadway? If so, sign me up.
Stay A ballad more in the style of Hamilton or Six and not as wildly melodic as the first two tracks, but it it does have it’s hooks. And the song has a gentle tone that makes me want to give Amber Iman a big hug.
Overall, I’ll be honest, I’ve been listening to these three songs on repeat for a couple days now. Definitely looking forward to the full cast recording dropping later this year.
but we actually love it. Michael Gore’s 1980s Horror-Thriller-Musical-Flop receives a new breath of life in the 2012 revival of the cultiest of cult musicals. May she rest in peace, Marin Mazzie delivers a stunning performance as the conversative mother who just can’t stop her daughter from going to prom. There is jaw dropping quality that Betty Buckley deliveres in the original 1988 Broadway cast and Mazzie takes that energy and places a strong silver in the Scary Mother Vibrato Olympics.
Highlights from this studio recording are:
In – The opening number showcases the transition from 80s Pop to 00s Alt Rock in mood. The original In is easy to make fun of for being so corny. The creepy lady gym teacher rap (keep those muscles tight… keep that body thin…) is removed and the singers don’t have to sing over ridiculous cheerleading and tumbling moves. Compares to the leotarded original pop vibe, this feels more like my high school emotional experience.
Carrie – The beat is bumpy and the vocals are belty. It’s the title song and Michael Gore keeps the audience and Carrie on our toes as to whether the time signature is odd or even. That’s not her naaaaaame!
Open Your Heart – My favorite song from this show. A simple prayer sung between mother and daughter but somehow it reaches very deep into my heart. The song is short and in this newer version, more upbeat and soulful. Mazzie’s verbrato shines over the chorus singing praise to Jesus who can hopefully save this broken family from the cursed demon child.
I Remember How Those Boys Could Dance – A mother’s sorrowful reminiscing of boys and the trouble that they bring. A hauntingly beautiful and also terrifying number.
Carrie 2012 teaches us that bad musicals can be good under the right conditions. Gore just needed to wait for alternative rock and grunge pop to be invented for his creation to make sense to general audiences. I see Carrie 2012 as a great success in musical theater artistry. And as someone who enjoys Broadway flops as an entire genre in itself, this 2012 album is a great listen for me.
Listen to full album here:
https:// m e g a . n z /file/gYhE0I4R#dfBZ_PDoqg4Dah6iUVFw-zdvwb13JU0TjK8o7tltO6M
100+ Years of Musicals 