Amanda Prahl - Page 6

Understudies on Broadway are nothing new. What is new, however or at least newly noticeable is the growing eagerness of fans to see such a performance.

Bet Hatikvah, the small town that is the setting for The Band's Visit, is utterly unremarkable. But unremarkable is the last adjective one would use to describe the score for this new musical, about an Egyptian police orchestra who, thanks to a linguistic mix-up, find themselves stranded overnight in a tiny Israeli town. Written by Tony nominee David Yazbek, the music ranges from haunting and ethereal to rousing and comedic, weaving together the structures and storytelling needs of musical theatre with melodies and orchestrations that are undeniably, authentically Middle Eastern. The end result is a score that takes a moment to absorb fully, but once it does, it's hard to stop thinking about.

Never underestimate the power of music, sings Ernesto de la Cruz on the soundtrack to the new Disney/Pixar film Coco. And that, at its heart, is the overarching theme of this thoroughly delightful, sometimes surprising story and its accompanying soundtrack. Music here isn't just an accent to the story it is the story. It's a classic Disney coming-of-age musical tale, but with one crucial difference: instead of the usual Broadway-pop score, it features specifically Mexican music, with songs by Robert Lopez & Kristen Anderson-Lopez and Germaine Franco & Adrian Molina, to tell a story that is both culturally specific and universally human.

Mandy Gonzalez has been one of Broadway's favorite divas since she burst onto the scene in In the Heights. But alongside her powerful voice, she's always given off that vibe that she could be your cool big sister. In her new album Fearless, Gonzalez exudes that same kind of warmth and wisdom on upbeat, inspirational tracks.

Broadway Cares/Equity Fights AIDS has a number of traditions that theatre fans look forward to every year. To raise money for numerous causes, the organization sponsors such special events as Broadway Backwards, the Broadway Flea Market, and Gypsy of the Year. In the midst of the fall/winter collection period is another beloved tradition: Carols for a Cure, a collection of Broadway casts singing holiday songs, now in its nineteenth year. This season's merry offering includes a blend of classic carols, modern songs, and wholly new compositions written specifically for this album.

The mythology of heaven and hell is one of the richest stories out there. In the new studio cast recording of Angels, the story is given yet another angle. Writers Ken Lai and Marcus Cheong (both share credit for the book and lyrics, with Lai also writing the music) tell a classic tale of good and evil from the perspective of Sera, an angel of light who longs to make a greater difference and becomes embroiled in a battle against Lucifer. Though uneven at times, the album does provide wonderful showcases for its talented cast.

A post-apocalyptic Depression-era retelling of an ancient Greek myth may not seem like obvious subject matter for a musical. But Hadestown, which ran at New York Theatre Workshop in the summer of 2016, took this bizarre concept and ran with it. Written by Anais Mitchell, Hadestown weaves together an industrial allegory and sweeping romance with the myths of Orpheus and Eurydice and Hades and Persephone. The bluesy score sweeps listeners away on this epic journey, thanks to the new live cast album, released by Warner Music Group/Ghost Light Records.

For many years, Andy Karl and Orfeh have been fixtures in the Broadway community, as well as one of its favorite showmances. Both have been a considerable presence in the theatre scene. Both bring a wry, adult, steady voice to an industry always seeking to anoint a new, fresh-from-U-Mich ing nue. And both are adept comedians who can also belt a note so big and beautiful that you might cry. All these traits and more are on display in Legally Bound, a live recording of the duo's 54 Below show.

In the wider world of pop culture, there's a bit of a misconception that Broadway performers and writers can only succeed in their own niche. Michael Mott's second album, Abandoned Heart, blows up that stereotype. The album (produced by Broadway Records) is chock-full of highly enjoyable pop songs that would not sound out of place alongside some of today's most-played hits.