Ken Martin

This may be the original London cast; but the recording is poorly done. I went to answer the telephone twice, before I realised that the ringing was a cell phone recorded on disc two of this set. I would return it, but it just is not worth the effort. It is most disappointing

I do not recommend this item to anyone.

I agree with most of the reviews - the London staging is the very best of the English language versions of 'Les Miserables'. Forget the New York (Broadway) production, much too polished (sanitized ?). It pales in comparison. The American version benefits from greater sophistication but at the cost of the original book.

HOWEVER, for the first production of this musical, go to the recording on the 'Anthology' (French) label, issued by FGL Productions (the complete 1980 version). It has the cast of the premier, with 'guest appearances' by some big names in yesterday's French popular music, Michel Sardou, Salvatore Adamo, and Michel Delpech. And a list of superb actor-sings, like Maurice Barrier (Valjean), Rose Laurens (Fantine), Yvan Dautin (Thenardier), and Richard Dewitte (Marius), the list is long.

Of course, it is all in French, but this IS a French musical, and this is what the composer, Claude-Michel Schonberg, and the librettists, Alain Boublil and Jean-Marc Natel, created. Here you have it, without embellishments added to please 'Anglo-American' tastes. A much more raw interpretation, closer to Victor Hugo's very thick novel (interestingly written in France, and in England, when the author was in self-imposed exile). The words in the French production are quite different from the English-language versions. The recording on two cds comes without a text, but the actors enunciate perfectly. Every word is audible, if you understand the language. Great stuff !

Beautiful Music, Beautiful Voices. I have thouroughly enjoyed it. We saw the show when it came to Atlanta several years ago and it also was wonderful.
NKG

We have owned the Les Miserable music book for quite a while and play them on the piano ourselves. Some of those songs are so grand and emotional that I was looking for a great treat from the "Original London Cast". We also bought the Les Miz movie and loved Liam Neeson in it. After watching it, I was really excited to listen to the London CD. I should have saved my money and time.

The singing was like a high school musical -- Shallow, immature, Broadway Imitation voices; too rapid delivery; lacking in emotion and expression. Cosette's song, which should be a tear-jerking, plaintive plea sounded like a kindergarten kid rushing to get it over with. Jauvert's song should have been passionate and deeply emotional. Instead it had all of the emotional depth and expression of a junior high-school rock band's home-grown rant. Wait for someone to do it right.

This isn't every single musical note from the show, but it's the full cast recording from the 1985 London version, spanning 2 discs. It includes more of the songs than the Broadway highlights album and is similarly priced.

This London production was the first English-language version of Les Mis and some songs have been tweaked for the later Broadway productions.

My first exposure to the wonderful music of Les Misérables was through the Broadway cast highlights CD, so I am a little biased toward that version (although this is the original).

This version is a little different from the Broadway version. "Who Am I?" is sung a little slower and seems more thoughtful. "A Heart Full Of Love" has differnt lyrics and is incorporated into a three-song "Love Montage".

This cast includes Colm Wilkinson as Valjean (he also played that role on Broadway and in the Tenth Anniversary Concert), Roger Allam as Javert, Patti LuPone as Fantine, Rebecca Caine as Cosette, Michael Ball as Marius, Frances Ruffelle as Eponine, David Burt as Enjolras, and Alun Armstrong as Thénardier.

I prefer Terrence Mann's rendition of "Stars" (from the Broadway cast) to Roger Allam's version on this CD. I really do. Maybe it's because I'm used to that one.

And Thénardier has a strong British-type accent on this CD, so "Master Of The House" will sound a little weird if you're used to the American version.

The actress who plays Eponine in the London cast is the same one from the Broadway cast (Frances Ruffelle). But for the people who were annoyed by her whiney performance on the Broadway CD, she sounds a little better on this recording.

CONCLUSION:
This is a pretty good recording of Les Mis and is available for a reasonable price. The Complete Symphonic Recordings includes even MORE of the show's music, but the cast is different (no Colm Wilkinson!). If you are used to the Broadway (American) version, I'd recommend you stick with that (although the Broadway equivalent of this 2-disc recording is a lot more expensive). The Broadway highlights CD is cheaper, but has only about half of the songs.

I'd also recommend you check out the Tenth Anniversary Concert CD. It features an all-star cast of Les Mis alums (plucked from the London, Broadway, and other casts). The recording spans 2 discs, so it includes songs that the highlights CD doesn't (similar to this London recording), AND it's about the same price as the London disc or the highlights disc. If you're looking for more music than the highlights CD offers, but you're not familiar with the London cast and you don't want to shell out $30-something, the Tenth Anniversary Concert CD may be the way to go.

THE SHOW:
In my opinion, Les Misérables is the best musical ever written. It is surprisingly faithful to its source, the excellent epic novel by Victor Hugo. True, many plot episodes have been dropped and some characters have been combined, but the only major change is that the character of Eponine has been ennobled. The main storyline is about Jean Valjean, a man embittered by an overzealous prison system but redeemed by the kindness of a bishop. He vows to live the remainder of his life as an upright man, which leads him to be a successful businessman and mayor, the guardian of an orphan, and eventually a fighter in the doomed Paris revolt of 1832. However, there are a multitude of characters who interact with Valjean and each other. The plot is complex, and the show runs about 3 hours, longer than the typical Broadway musical. Large portions of the show are serious, but it has its humorous moments, and other parts (including the finale) are extremely uplifting.

THE RECORDING:
This three-CD set is an excellent recording of the show -- this is one of my most prized possessions!

First of all, the use of a full symphony orchestra lends an extra dramatic flair apparent from the first chord onward.

Secondly, I recommend this recording because of its completeness. To me, many of the most inspiring parts of the score are where Valjean shows his Christ-like compassion: championing Fantine, claiming Cosette, freeing Javert, and pleading for Marius. None of these are included on the Broadway recording, nor are the bittersweet musical sequences following several of the deaths in the second act.

Third of all, the recording cast is drawn from members of several English-speaking productions, plus one member from a non-English-speaking production. With only one exception, these singing actors do a fine job. I will comment only on the three most controversial casting choices:

People familiar with recordings featuring Colm Wilkinson as Valjean find difficulty adjusting to Gary Morris, who plays the role very differently than Wilkinson. He has a voice that's rougher, but I think it has more power and a wider range of emotion that more than makes up for the roughness: compare the sense of anguish he brings to such numbers as "What Have I Done?," "Who Am I?," and "Bring Him Home." I think that Valjean, a man who has endured so much pain and suffering in his life, would be this emotional, even if he has dedicated his life to God. However, I understand how other people prefer Wilkinson's more gentlemanly portrayal of Valjean.

Kaho Shimada, from the Japanese cast, did not speak English at the time of this recording. Her accent is no stranger than some popular country singers, and I doubt anyone who did not know she didn't speak English would realize her unfamiliarity with the language. Ms. Shimada has a "pop"-style voice, but it works well for the downtrodden Eponine.

I agree with other reviewers who dislike Tracy Shayne in the part of Cosette. The character is not one of the better parts written by either Hugo or Boublil, so I can forgive Ms. Shayne for her lack of acting the part to its fullest, but I cannot pardon her weak and somewhat fluttery voice. Surely someone better could have been found for this landmark recording. Because the role of Cosette is secondary, this flaw is not a deal-breaker.

The rest of the cast and chorus are superb -- great acting and strong voices. Special accolades for Philip Quast as Javert and Anthony Warlowe as Enjolras.

To summarize: if money is tight, skip a few meals to cover the extra cost of this recording. It's worth it!

Les Miserables is not only compelling music it is very dramatic, therefore no other version is as satisfactory a listening experience. The other versions are really on Les Miserables, the greatest hits, and therefore lack the dramatic impact. This recording is superb; buy it and enjoy!

This is my favorite Broadway production. This is the best recording of Les Mis available.

Like so many others, I have never been so deeply effected by any other staged musical. It is somewhat like going to mass. I know the story. I have seen the turntable production multible times in multiple countries. And still, whenever I find myself at a location near a live performance, I feel compelled to go again. I know that I will always be so moved as to feel marvel that such a feast of story, sights, and sounds can be put together in a single theatrical production. Somehow it seems to renew something inside of me that is good.
This play has so few spoken words that it is rather like an opera. It has inspired me to buy virtually every recording associated with it (even the French concept album)... searching for that heart felt experience. This album, better than any other, allows you to re-experience the entire play. It is a treasure.
William R. Beaty, M.D.

I have this recording memorized front to back, and when my old cassettes finally wore out, it was time to replace them digitally. Well of course it sounds phenomenal, and the booklet has all the cast info plus all the lyrics and a synopsis of the plot. I can't compare this with the other recordings, but it's my favorite as I grew up with this one.

Of course there should have been much more. I remember there been a Metropolian Opera series called CAST ALBUMS- 100 YEARS that was put out for a limited time only and had like five volumes.
As Peter Filichia noted they left out SHE LOVES ME, BRIGADOON and SWEENEY TODD. Also nothing from PACIFIC OVERTURES, BIG RIVER, CHESS, CRAZY FOR YOU, JEKYLL & HYDE, TITANIC, THE SCARLET
PIMPERNEL, FOOTLOOSE- THE MUSICAL, THE FULL MONTY, URINTOWN...
But they couldn't have put it all. I would have done without Lee Remick's
"Anyone Can Whistle", because the show was a flop. I guess because it was Sondheim's first "serious" show...

The first three discs were only OK. I had forgotten how much better the later Broadway musical recordings were. The last two discs were very good, maybe because I could relate better to the shows or perhaps the productions were better.

Packs into 5 CD's a sampling of Broadway tunes from the 20's thru (almost) today, mostly from original cast recordings. Includes not just well-known hits, but also some lesser-known gems. Sound quality is first rate, booklet is informative too. Have given this as a gift to several friends with rave reviews.

This is THE definitive collection of Broadway hits. I have other collections, and none of them measure up. A great deal of care was obviously taken in compiling and presenting this box set. It covers a lot of ground, starting with some long-forgotten but still very enjoyable hits from the days of yore, and finishing with present-day favorites. To the best of my knowledge, the recordings are by those who made them famous. You won't be disappointed.

THESE BROADWAY MUSICALS CD'S ARE A BROADWAY LOVERS DREAM. WITH EACH SONG, MEMORIES COME FLOODING BACK. BOTH THE FAMILIAR AND THE FORGOTTEN SONGS ARE A TRUE LISTENING PLEASURE. IF YOU LIKE BROADWAY, YOU'LL LOVE THIS SET.

It doesn't get any better than these two playing these guys! Some of it was recorded at Abbey Road Studios. Use your imagination... It's all just swell.

"The true mission of the violin is to imitate the accents of the human voice, a noble mission that has earned for the violin the glory of being called the king of instruments." ~ Charles-Auguste De Bériot ~

Yehudi Menuhin and Stéphane Grapelli together had made some of the most beautiful music ever-recorded. And I believe that this is one of the many successful albums they recorded together. In this recording, both violinists have showed their excellent musicianship and interpretative eloquence as well, making it one of my most cherished CDs from my collection.

These are the main ingredients of a perfectly-made CD for your listening pleasure: mix violins, piano, bass and drums together, combine two terrific violinists, season with the best melodies in the 20s, 30s and 40s from Irving Berlin, Jerome Kern, Cole Porter and Rodgers & Hart. Add the musical talents of Nelson Riddle, Max Harris, Martin Taylor, Eddie Tripp, Alan Clare and the rest of the studio musicians. Now all you have to do is to sit back, relax and savor these stunning melodies coming from your CD player. Listen to it in full-volume and fill your music room with the sheer beauty of these classics.

One of my favorite musical instruments is violin. With its four strings, it gives a whole wide range of musical versatility and I simply love the fascinating sound it produces.

My personal highlights are the best tunes from Jerome Kern - "The Way You Look Tonight" (Nelson Riddle arranged this particular track and conducted the Woodwind and Brass section), "A Fine Romance," "Pick Yourself Up," "Why Do I Love You?" and "All The Things You Are."

My choices from Irving Berlin's gems are - "Isn't It A Lovely Day?" featuring the great artistry of Nelson Riddle in arranging and conducting, "Cheek To Cheek" and "I've Got My Love To Keep Me Warm."

The Cole Porter repertoire represented his musical sophistication in "Night And Day," "I Get A Kick Out Of You" and "Just One Of Those Things."

The choice cuts from the talented and creative team of Richard Rodgers and Lorenz Hart are "My Funny Valentine" and "Thou Swell."

Listening to this CD is so delectable and equivalent to having my favorite dessert - be it Tiramisu, New York Cheesecake, Black Forest Cake, Chocolate Soufflé, Créme Brulee, Chocolate Mousse or Chocolate-Coated Strawberries! ;)

A musical treat.

I love this music, especially when I can visualize the movie that it accompanied. This is music to soothe one and to make one smile at the the same time. I highly reccomend this recording and the movie as well.

After having seen the "March of the Penguins" movie, I just had to have this CD! The music enhanced the movie production making it such a wonderful documentary. Each track displays an array of emotion: from peaceful to whimsical to even tear-jerking. Just relax, listen and envision the emperor penguins making their way through the dry arctic lands. What a find! And what an orchestra!

this was an execellent movie. And the soundtrack is wonderful also. I listen to it every day.

Love this CD....the music is beautiful. If you loved the movie, you'll emjoy this CD.

If the movie was great and magnificent, imagine the music!!! You'll take your stress away if any...

This being the only complete recording, if you really desperately want all the bits and pieces of music that don't usually make it onto the soundtracks, you'll probably want to buy it. Aside from that, there is really only one compelling reason to buy this recording, and that is Philip Quast. Though I hate to repeat something everyone else has already said, he really is an excellent Javert -- definitely the best I've heard so far.

Most of the other singers are decent, but not outstanding -- I do think Kaho Shimada was something of a poor choice for Eponine, though. While she can sing, and I like her on the Japanese Red Cast album, her heavy accent detracts from her performance somewhat. It was a nice idea to have someone from one of the non-English-language performances on the album, but perhaps they could have found someone who spoke the language a little better.

Furthermore (and more importantly), I greatly dislike Gary Morris's Valjean, which ruins quite a bit of this recording for me. His performance just feels cheesy, and it looks even worse next to Quast's Javert. Some people do like him, so your mileage may vary here, but I really think he's the worst thing about the album (and as Valjean is more or less the protagonist and has a part in quite a few songs in both acts, it's worse than if the weak link were, say, Fantine).

So, to sum up, this recording has one outstandingly good performance, one outstandingly bad one, and quite a few decent but largely forgettable ones. I don't particularly regret buying it, but I can't recommend it with any enthusiasm. Honestly, my best advice is to get Javert's tracks off of iTunes and leave the rest.

Firstly, I'd like to know why everyone thinks the Tenth Anniversary concert is so great. The quality is terrible, the cuts are annoying, the singers are drowned out, "One Day More!" is the worst version ever because it echoes and has absolutely no clarity, and the old preformers didn't come close to their previous preformances. Granted, the new people were good, just not my favorites. If it were a "Dream Cast," it would have Patti LuPone and Anthony Warlow. The only songs I listen to from it are "On Parole" and the encores. It was fine as concert, but not as a recording.
But I digress. The Complete Symphonic Recording is a must-have, and if you can only have one recording, get this one. The orchestrations were one of very few things I liked about the Tenth Anniversary, and while the orchestrations aren't quite that quality, they're good nonetheless.

Now, on to the preformers-

Gary Morris- while he may not be the "best" Valjean, he places above Colm Wilkinson for his heart-breaking "Valjean's Confession" and "The Bargain." If you can't imagine an American Valjean, you need to know that Wilkinson is Irish and Valjean is French. Actually, Morris kind of sounds like a young Colm Wilkinson without the wierd stops.

Philip Quast- astounding. No one can top him. He doesn't do the wierd diction that he did at the Tenth Anniversary. He also gets more material this time!

Michael Ball- not much to say, but no complaints.

Tracy Shayne- clear voice and sounds half Judy Kuhn's age. A little shrill, but so was Sarah Brightman in Phantom, and that's the way the part was written, anyway. Her voice goes so well with Michael's.

Kaho Shimada- she sound like Frances Ruffelle and Lea Salonga mixed together. She has the best version of "On My Own" because of extended notes. And she gets more material.

Barry James & Gay Soper- James sounds like Alun Armstrong and Leo Burmester toether, and combines the best parts of their preformances. His only fault is "beyond ru-bleah-ies" in "The Waltz of Treachery." Gay Soper sounds shrill, but I've heard her in other works and she didn't sound the same, so blame the direction. If you just bear with it, she sounds better.

Anthony Warlow- he murders enery other Enjolras. He's fantastic at everything he does.

Debbie Bryne- my second favorite Fantine, the first being LuPone. Henshall was good, but she had some nasty notes in "I Dreamed a Dream." Debbie has some almost-called-it moments, like in "Come to Me," where she starts to belt the last note, but softens out. In a word, she's easy on the ears.

The company is great as well, and most numbers are more emotional than other recordings.
The main benefit of this recording is that it's the complete show on CD, and the only one that includes the full Wedding Chorale and "Valjean's Confession," along with "The Robbery" and a ton of other sequences.
I whole-heartedly recommend this CD to any Les Miz fan. My review may be a bit biased because this was the first recording I got, but somehow, I get the feeling that it's truer than the reviews bashing it.

Right now, there are four official English-language versions of Les Miserables: the Original London Cast Recording, the Original Broadway Cast Recording, the Complete Symphonic Recording, and the 10th Anniversary Concert Recording. Les Mis' addicts are best served by purchasing all recordings, as they showcase different stages (as in the OLC and the OBC) of the development of this mega-musical, as well as the interesting variations in presentation and performances by the different casts and orchestras.

If you're the average musical-theater listener who can't afford to buy all available English-language recordings, however, my advice would be to get the CSR (due to the fact that it's "complete") and the TAC recording (due to the fact that performer- and performance-wise, it's leaps and bounds better than all of the other recordings). You deserve no less.

I can't believe all the negative comments about Gary Morris. He is so much better in the role than Colm Wilkinson. I've seen Gary perform the part three times and there is NO better Jean ValJean (seen the play 14 times). It's an international cast and some of the accents do take time getting used to. But the power of the music supercedes it all. Listen with your heart people. It's so incredible.

"Les Miserables" is a marvelous musical; a stunningly faithful interpretation of Victor Hugo's masterpiece, with an inspiring storyline and unforgettable characters. There are 2 reasons for buying a Les Mis CD - (1) you've seen a performance and want ONE CD to remind you of it or (2) you've become a les Mis junkie (like me) and want multiple versions so you too can hold forth on the rival merits of Andy Warlow vs Michael Maguire, Patty LuPone vs Ruthie Henshaw, Frances Ruffelle vs Kaho Shimada vs Lea Solonga. If you are in the first category, you really want the Tenth Anniversary Concert. The TAC has the complete storyline (albeit slightly abridged), it was recorded live (so there's an unique intensity and chemistry between performers), and from top to bottom it has by far the best cast.

However, if you're a serious Les Mis fan, you should buy this CD (in addition), simply because it does have the complete score. (The trouble with THAT is that it includes practically the only misstep in the whole script - if Jean Valjean has his number branded on his chest, then how is it credible that someone else will be convicted in his place?) I bought it for that reason and to hear other interpretations of the roles (in particular Andy Warlow's). I have all 4 versions, and they have all have their pluses and minuses, but frankly, I'm glad I didn't pay full price for this one. This version has a rather weak cast in general, but that does add to the fun arguing about it. On the plus side, it has Philip Quast ( THE BEST Javert, but he's even better on the TAC), Michael Ball (THE BEST Marius, also on the OLC and TAC versions), and Andy Warlow (a stirring Enjorlas for sure, but not THAT much better than Michael Maguire on the OBC and TAC). The scenes at the barricade are the best part of the CD. Kaho Shimada is an uneven Eponine, OK sometimes, less so at others. Debbie Byrne (Fantine) is OK, but I don't find her as moving as Patty LuPone (OLC) or Ruthie Henshaw (TAC). Tracy Shayne (Cosette) is irratating, not nearly as sweet as Judy Kuhn (OLB and TAC) or even Rebecca Caine (OLC). I find Barry James and especially Gay Soper (M. and Mme. Thenardier) grating as well.

I really miss Colm Wilkinson (OLC, OBC and TAC). OK, he has a unique singing style, but such heart. Not always perfect, but so powerful and emotional. All his solos and "Confrontation" just stop me dead in my tracks. The sweetness and purity of his "Bring Him Home" and "Epilogue" move me to tears. But really, there must be someone else who can do at least an adequate job or the show wouldn't have run so long in so many venues. I am willing to listen to another interpretation, but not this one. This is the central role in the play, it really can't survive without a good performance here. Gary Morris is horrible as Jean Valjean, cringe-provoking at times, merely weak at others. He's totally overmatched by Quast in "Confrontation" and by everyone in "One Day More" and "Epilogue". I haven't tried the recommendation of one reviewer of listening while squinting and shaking my head hard, but I don't see how that will help. Morris's "What have I done?", "Bring Him Home" and "Valjean's Confession" make me cover my ears or send me running for the fast forward button, although "Who am I?" isn't so bad. (I just tried the head shaking trick, it didn't help.)

Jennifer Westfeldt hits all the notes required for the role of Eileen, yet her voice isn't my favorite. Donna Murphy's voice is not great either. The real talent there is Gregg Edelman, but I honestly prefer him along Brooke Shields and Jennifer Hope Wills.

Frankly, I got this album for one song..."A Hundred Ways to Lose a Man", which I heard on the Braodway station of our digital cable network. I was extremely entertained by the song and loved the style portrayed in this album's particular rendition of it. I got it in order to perform the song myself for a benefit performance. I am very pleased to have it in my collection. As far as the rest of the album is concerned...one has to be "in the mood". It can be a bit annoying at times. Not my favorite Leonard Bernstein...doesn't compare to West Side Story...rather fluffy in comparison and silly, but that's what was intended.

This show is nice, very broadway. The music is nice, lyrics fun, and whole show a nice piece. It isn't something I would listen to over and over which is why it's only getting three stars, but it isn't something that I won't play from time to time. Of the two recordings I have (this one and the 2004 revival) there are MINISCULE differences, but I would say this is the better of the two. I like Donna Murphy's character over Brooke Shields. Good CD for collectors and new broadway listners alike. Fav Song: "Conga"

This is an excellent piece of work. Delightful. Charming. Splendid. Funny. Enjoyable. There are so many songs that stand out on this soundtrack, paticularly "one hundred easy ways." Evey time I hear I just can't help but break out in laughter. Excellent soundtrack; a must purchase!!

This may be the prime example of how a live performance transcends any recorded experience. I have read all the rave reviews of Donna Murphy's performance and trust people's judgment: she must have been wonderful in person. In this recording, however, she struggles through four or five different accents, settling somewhere between a voice from Missippi by way of New York.It seems less a performance than a gimmick.

As a kid I heard my parents play the Rosalind Russell version of this show a hundred times and I guess she is imprinted in my mind as Ruth Sherwood.

The orchestrations here sound magnificent and there are a few tracks added which round out the experience.

I'll agree this is nothing new, but this CD has great music on it. Very exciting and fresh, to go with this old story. The vocalists are great, the lyrics fit right into the story, and the orchestrations are wonderful. After listening to this CD I never want to see "A Christmas Carol" any other way. I strongly suggest this CD for everyone. It is a family show, as well as being a wonderful one for new and old listeners. This CD tells the entire story, there no need to read a synopsis because its all here. Favorite Song: "Dancing On Your Grave"

What this show lacks in originality or variety, it makes up with charm and pure enjoyment points. We all know the story, Scrooge regects the Christmas spirit and is, in result, is visited my three ghosts to show in the past, present and future of Schrooge's Christmas'. What makes this show unique is that it is almost entirely sung through. However, this is also the downfall of the show. There is not quite enough material to merit a the opera-esque elements of the show. Unfortuantely, there are a lot of reprisals of the music, and it is the weaker songs that are repeated again and again, which makes it occasionally tedious. Also, it borrows elements from menkins other musicals, like Hunchback of Notre Dame and Beauty and the Beast. The same mediocre material moves from tedious to boring when streched across three shows.

However, the show is a lot of fun, and will make you begin counting down the days until Christmas!
The best songs are LINK BY LINK, the song Marley sings to forsee the arrival of the three ghosts, ABUNDANCE AND CHARITY, a sort of MGM big chorus number by the ghost of christmas present, and DANCING ON YOUR GRAVE, the song the gost of christmas yet to be sings. Its atmospheric and a little creepy.

Overall, its a great family musical for the christmas season.

All of Menken's work has had a unique sound that still allows melodic lines to soar in a way unheard since Rodgers & Hammerstein. Whether it be the 60s Do-Wop style of Little Shop of Horrors or the intense soaring classical-romantic style of Der Glöckner von Notre Dame, he creates soaring music. One of these shows would certainly be A Christmas Carol.

The music starts out perhaps a slight bit weak, lacking in melodiousness, but Ahrens (of Once On this Island and Ragtime Fame) is able to redeem this with important story characteristics which allow the second half to be a ton of fun musically as well.

The very first time I ever saw this musical, I was in 3rd grade, which would be 2000. I went to see it with a family friend and his mom, and I absolutely adored it. That trip was very special, especially because that friend's older sister was in it, one of the 30 angels in the choir. From that point on, it was my dream to be in the angel choir too. And since she was in it through our school, I knew I would get my chance. 3 years later, in 6th grade, choir auditions came around at school and I made it! You could definitely say that that was the best day of my life. And so I performed with 29 of my friends about once a week, and I remember every moment of it - however, having this CD definitely helps to relive the memories. =) If you didn't get a chance to see this show before it closed last year, buy this CD - it obviously won't be the same but it's pretty darn close! And for those of you who have seen it, you'll love reliving it for yourself. Just get this CD!! It has perfect orchestrations, witty songs and it's an all around joyful experience. And I'm not just saying that because I was in it. =D

The very first time I ever saw this musical, I was in 3rd grade, which would be 2000. I went to see it with a family friend and his mom, and I absolutely adored it. That trip was very special, especially because that friend's older sister was in it, one of the 30 angels in the choir. From that point on, it was my dream to be in the angel choir too. And since she was in it through our school, I knew I would get my chance. 3 years later, in 6th grade, choir auditions came around at school and I made it! You could definitely say that that was the best day of my life. And so I performed with 29 of my friends about once a week, and I remember every moment of it - however, having this CD definitely helps to relive the memories. =) If you didn't get a chance to see this show before it closed last year, buy this CD - it obviously won't be the same but it's pretty darn close! And for those of you who have seen it, you'll love reliving it for yourself. Just get this CD!! It has perfect orchestrations, witty songs and it's an all around joyful experience. And I'm not just saying that because I was in it. =D