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Forbidden Broadway, Vol. 3

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  1. 1.
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    Carol Channing Sequence: Imitation Is the Sincerest Form of Flattery – Craig Wells, John Freedson, Brad Oscar, Christine Pedi, Susanne Blakeslee, Gina Kreiezmar... 05:31
  2. 2.
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    Forbidden Broadway Vol. 3 – Craig Wells, Christine Pedi, Brad Oscar 02:49
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    Ya Got Trouble: Trouble in New York City – Brad Ellis, Herndon Lackey, John Freedson, Christine Pedi, Brad Oscar, Craig Wells 03:10
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    Guys and Dolls Sequence: Guys and Dolls/I've Never Been in Love Befor – Brad Oscar, Christine Pedi, Gerard Alessandrini, Susanne Blakeslee, Craig Wells 03:43
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    Topol: If I Were a Rich Man – Gerard Alessandrini 03:07
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    On the Atchison, Topeka and the Santa Fe [Anna Karenina, The Musical] – John Freedson, Craig Wells, Dorothy Kiara, Gerard Alessandrini, Brad Ellis, Brad Oscar 02:24
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    Julie Andrews: I Could Have Danced All Night – Susanne Blakeslee 01:35
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    Grim Hotel: Grand Hotel/Love Can't Happen Quite So Quickly/Follies Be – Dorothy Kiara, Herndon Lackey, Marilyn Pasekoff, John Freedson 06:11
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    Barbra, the Broadway Album: Somewhere – Barbara Walsh 02:21
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    Dustin Hoffman: Mrs. Robinson/The Sounds of Silence – John Freedson 02:41
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    Return to Merman and Martin: Everything's Coming up Roses/Old Fashion – Nora Mae Lyng, Roxie Lucas 04:22
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    Ms. Saigon: Tonight I Will Be Miss Saigon/You Are Sun, I Am Moon – Susanne Blakeslee, Christine Pedi, Brad Oscar, Craig Wells 03:12
  13. 13.
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    Michael Crawford Sequence: Michael Crawford/Put on Your Sunday Clothe – Craig Wells 03:30
  14. 14.
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    Robert Goulet Sequence: Camelot – Christine Pedi, Brad Oscar, Susanne Blakeslee 03:04
  15. 15.
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    Mess of the Spider Woman: Prologue/Kiss of the Spider Woman/Dear One/ – Brad Oscar, Christine Pedi, Craig Wells, Susanne Blakeslee 06:14
  16. 16.
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    Back to Barbra: On a Clear Day – Susanne Blakeslee 02:29
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    Mug Brothers: Tell Me It's Not True/Marilyn Monroe/I Think I Love You – Susanne Blakeslee, Craig Wells, Brad Oscar, Christine Pedi 06:55
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    Who's Tommy: See Me, Heal Me, Feel Me/Listening to You – Susanne Blakeslee, Christine Pedi, Brad Oscar, Craig Wells 03:37
  19. 19.
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    Finale: You Gotta Have Heart – Craig Wells, Susanne Blakeslee, Brad Oscar, Christine Pedi 03:24

Though the second volume of Forbidden Broadway was recorded and released in 1991, writer/director Gerard Alessandrini apparently hadn't quite had his say on the Broadway shows of the late 1980s, since he mixes into the third volume his parodies of Grand Hotel ("Grim Hotel") and a production of The Merchant of Venice starring Dustin Hoffman as Shylock, both of which date from 1989. And of course, as usual, he harks back to even earlier periods of Broadway history, rewriting "Ya Got Trouble" from The Music Man to comment on the current state of the theater and taking off on Julie Andrews, Barbra Streisand, Ethel Merman, and Mary Martin. Carol Channing, meanwhile, good naturedly plays herself, tossing in her own impersonations of Marlene Dietrich, Carmen Miranda, and Tallulah Bankhead. But as usual, the core of Forbidden Broadway consists of satires of recently opened Broadway musicals: Miss Saigon, with its notorious casting problems and awful lyrics; a revival of Guys and Dolls in which Nathan Lane and Faith Prince spend all their time chewing scenery; a short-lived musical version of Anna Karenina (Anna throws herself under the train after singing a Russianized version of "On the Atchison, Topeka and the Santa Fe"); The Who's Tommy, with its flashy staging ("See Me" becomes "Scenery"); the soap opera-ish Blood Brothers ("Mug Brothers") with its celebrity casting of Petula Clark, David Cassidy (whose Partridge Family hit "I Think I Love You" becomes "I Think I'm Acting"), and Shaun Cassidy; and Kiss of the Spider Woman, with its ancient leading lady ("Mess of the Spider Woman") and gay plot ("****** One"). Despite a cast of 16, the impressions are not always impressive (John Freedson's Dustin Hoffman especially needs more work), and some bits are funnier than others. There's a lot here that is of its time and a lot that will make sense (and be amusing) only to Broadway aficionados, and even some of them may find a few of the jokes too cruel. Also, Alessandrini sometimes seems hypocritical; he usually suggests that old Broadway is better than new Broadway, but then complains about successful revivals like Guys and Dolls. Of course, consistency is not the most important quality of a satirist; what you look for are laughs, and there are many here to be found. William Ruhlmann, All Music Guide

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  • Online Item #: 11588957
  • Store Item Number (DPCI): 244-07-1078
  • Made in the USA or Imported