Composer: Frank Loesser, Richard Rodgers
Works: Guys and Dolls, The King and I
Performers: Isabel Bigley (Sarah Brown), Robert Alda (Sky Masterson), Sam Levene (Nathan Detroit), Vivian Blaine (Miss Adelaide), Stubby Kaye (Nicely-Nicely Johnson), Dorothy Sarnoff (Lady Thiang), Yul Brynner (The King of Siam)
Recording: Original Broadway Cast Recordings
Label: FORUM FRC6104
The original Broadway cast recordings of “Guys and Dolls” and “The King and I” represent a high watermark in American musical theatre, encapsulating the vibrancy and innovation of mid-20th century Broadway. Frank Loesser’s “Guys and Dolls,” premiering in 1950, is a clever amalgamation of humor and pathos that draws on the rich tapestry of New York City’s gamblers and dreamers. Richard Rodgers and Oscar Hammerstein II’s “The King and I,” released shortly thereafter in 1951, marks a more contemplative and romantic exploration of cultural exchange and personal sacrifice. Both works have cemented their status as staples of the musical repertoire, and this recording captures their essence with remarkable fidelity.
The performances on this recording are notable for their authenticity and exuberance, serving as a reminder of the original context in which these works flourished. Isabel Bigley’s portrayal of Sarah Brown in “Guys and Dolls” is particularly captivating; her rendition of “If I Were a Bell” illustrates not only her vocal prowess but also her ability to convey character through song. Similarly, Vivian Blaine’s “Adelaide’s Lament” is a high point of comic relief, deftly balancing humor with genuine emotion. However, Robert Alda’s performance as Sky Masterson is somewhat problematic; his smarmy vocal quality detracts from the romantic tension of the duet “I’ll Know” with Bigley, a moment that should shimmer with anticipation but instead falls flat under his delivery.
The recording quality itself is a testament to the engineering standards of the time, allowing for a rich and vibrant sound that captures the energy of live performance without the distractions that often accompany such recordings. The orchestral arrangements, conducted by Irving Actman and Frederick Dvonch, possess an immediacy that enhances the theatricality of the music. The clarity of the brass and woodwind sections in “Fugue for Tin Horns,” for example, not only showcases Loesser’s clever counterpoint but also provides a stunning backdrop for the performers’ exuberant vocal interplay.
While “Guys and Dolls” thrives on its straightforward charm and rhythmic vitality, “The King and I” delves into more complex emotional landscapes. The latter’s “We Kiss in a Shadow” exemplifies this depth, employing intricate harmonic structures that heighten the poignancy of the lyrics. The juxtaposition of lightness and seriousness in both scores is skillfully navigated, though some of the more earnest numbers from “The King and I,” such as “My Lord and Master,” may feel dated to contemporary ears. Nonetheless, the buoyancy of “I Whistle a Happy Tune” and the enchanting “March of the Siamese Children” remind listeners of Rodgers and Hammerstein’s ability to blend cultural motifs with accessible melodies.
This recording not only preserves the historical significance of these works but also invites a re-examination of their artistic merits. Both “Guys and Dolls” and “The King and I” serve as exemplary models of the American musical form, each reflecting the cultural zeitgeist of their respective eras. As such, they remain essential listening for anyone seeking to understand the evolution of musical theatre in the 20th century. The performances, while occasionally uneven, ultimately evoke a sense of nostalgia and joy that encapsulates the spirit of Broadway’s golden age.
