Four timeless Ernst Lubitsch musicals are included in this collection. First, in "The Love Parade" (1929), Jeanette MacDonald shines as a singing queen who gets swept up in a melodic romance with roguish count Maurice Chevalier. With Lupino Lane, Lillian Roth. Next, in "Monte Carlo" (1930), MacDonald is a countess who travels to the resort destination to get away from her fianc�, only to get mixed up with royal suitor Jack Buchanan. Co-stars Claud Allister, ZaSu Pitts. Then, "The Smiling Lieutenant" (1931) is Chevalier, as he tries to romance violinist Claudette Colbert while she teaches his dowdy bride (Miriam Hopkins) how to be charming. With Charles Ruggles. Lastly, in "One Hour with You" (1932), Chevalier and MacDonald are a married couple whose relationship is complicated by beauty Genevieve Tobin. With Charles Ruggles, Roland Young. 6 1/3 hrs. Total on two discs. Standard; Soundtrack: English Dolby Digital mono; Subtitles: English (SDH).

Three-disc set includes: The Young Ones (1961)Once in every lifetime comes a Cliff Richard musical like this, with the British pop idol playing Nicky Black, a lad out to stop millionaire land developer father Hamilton (Robert Morley) from destroying a local youth center. Cliff raises the cash to buy the land with a rock-and-roll show, but other complications ensue, including the kidnapping of the elder Black by one of Nicky's fans. With The Shadows, Carole Gray and Teddy Greene. Songs include "The Young Ones," "What Do You Know We've Got a Show" and "We Say Yeah." AKA: "Wonderful to Be Young." 108 min. C/Rtg: NR Summer Holiday (1963)British pop star Cliff Richard stars with his group The Shadows in this pleasing musical comedy caper in which four mechanics travel in a double-decker bus across Europe. During a trial run, they smash into a car carrying an all-girl musical trio, then decide to take them to Athens. During the tune-filled trip, the lads also encounter an American girl singer posing as a boy, talkative French mimes and more. Lauri Peters, Melvyn Hayes and Ron Moody co-star; directed by Peter Yates. Songs include "Bachelor Boy," "Dancing Shoes" and the title track. 108 min. C/Rtg: NR Wonderful Life (1964)Having been fired from their jobs on a ferry, Johnnie (Cliff Richard) and his bandmates (played by Cliff's backing group, The Shadows) find themselves on the Canary Islands where they get mixed up with an eccentric filmmaker (Walter Slezak). Johnnie is hired as a stuntman and is soon wooing a beautiful actress (Susan Hampshire) while he and the fellas try to turn the movie-a boring desert picture-into an upbeat musical. Songs include "A Girl in Every Port," "On the Beach," "Do You Remember," and more. 109 min. AKA: "Swinger's Paradise." C/Rtg: NR Widescreen; Soundtrack: English; Subtitles: English (SDH); more.

Classically trained clarinetist Jeff Lambert (Bing Crosby) spent his New Orleans youth riffing on Basin Street, and the day came when he teamed with a trumpet player (Brian Donlevy) and a singer (Mary Martin) to try and make his mark playing Dixieland. Tuneful (if not always accurate) account of the beginnings of jazz co-stars Jack Teagarden, J. Carrol Naish, Eddie Anderson, Cecil Kellaway; Songs include "St. Louis Blues," "Memphis Blues," "Melancholy Baby." 87 min. Standard; Soundtrack: English Dolby Digital mono; Subtitles: English (SDH).

The life story of the King of Swing-from his childhood clarinet lessons from a Chicago professor to his dominance of 1930s radio and romance with a society girl-is told in memorable fashion with a standout titular performance by Steve Allen. Donna Reed, Berta Gersten, Herbert Anderson co-star, with music from Sammy Davis Jr., Gene Krupa, Harry James, Lionel Hampton, and Goodman himself dubbing Allen's clarinet playing. Songs include "Moonglow," "Let's Dance," "Sing, Sing, Sing," and more. 117 min. Standard; Soundtrack: English Dolby Digital mono; Subtitles: English (SDH).

Bo Diddley's iconic beat shaped the foundation of rock and roll. In this jam-packed concert, Bo shares the stage with giants from every corner of rock history: Ronnie Wood of the Rolling Stones, Kenny Jones of The Who, Carl Wilson of The Beach Boys, Mick Fleetwood of Fleetwood Mac, and many more legends. Together, for one explosive performance, they put the rock in rock and roll.

Six-disc set includes: Brigadoon (1954)While on a hunting trip in Scotland, New Yorkers Tommy Albright (Gene Kelly) and Jeff Douglas (Van Johnson) stumble upon the magical village of Brigadoon, which appears for one day every 100 years. And when Tommy falls in love with beautiful enchantress Fiona (Cyd Charisse), he must decide if he should stay or return to his humdrum life. With Elaine Stewart, Barry Jones. The classic Lerner and Loewe score includes "From This Day On," "I'll Go Home with Bonnie Jean," "The Heather on the Hill." 108 min. C/Rtg: G Guys And Dolls (1955)Damon Runyon's colorful gangsters come to life in this lavish film adaptation of Frank Loesser's beloved Broadway musical. Frank Sinatra is Nathan Detroit, proprietor of "the oldest established permanent floating crap game in New York," and Marlon Brando is high-rolling gambler Sky Masterson; with Jean Simmons, Vivian Blaine, Stubby Kaye. The score includes "Luck Be a Lady," "Adelaide's Lament," "Sit Down, You're Rockin' the Boat." 149 min. C/Rtg: NR The Pajama Game (1957)Labor relations take on a whole new meaning in George Abbott and Stanley Donen's filming of the hit Broadway musical, itself based on the 1953 novel "7 1/2 Cents," with garment worker activist "Babe" Williams (Doris Day) and factory foreman Sid Sorokin (John Raitt) playing the enemies-turned-lovers. "Steam Heat," "Hey There," and "I'm Not at All in Love" are among the memorable Adler/Ross tunes enhanced by Bob Fosse's choreography. With Carol Haney. 102 min. C/Rtg: NR Damn Yankees (1958)A lifelong and long-suffering Washington Senators fan makes a deal with the devilish Mr. Applegate (Ray Walston) and is transformed into young slugger Joe Hardy (Tab Hunter), ready to lead his club to the pennant, in this hit adaptation of the Broadway musical comedy from George Abbott (who co-directed with Stanley Donen). Gwen Verdon is Lola, Applegate's sultry sidekick; look for choreographer Bob Fosse as a mambo dancer. The score includes "Heart," "Whatever Lola Wants." 111 min. C/Rtg: NR Gypsy (1962)Smash musical about the life of stripper Gypsy Rose Lee. Natalie Wood plays the vaudeville singer-turned-burlesque star, with Rosalind Russell as her abrasive stage mother. The Stephen Sondheim-Jule Styne score includes such gems as "Everything's Coming Up Roses," "Small World," and "You Gotta Have a Gimmick." With Karl Malden, Ann Jillian. 143 min. C/Rtg: NR The Boy Friend (1971)Director Ken Russell spoofs and salutes Hollywood musicals of the '30s in this heartfelt film. When the leading lady (Glenda Jackson) of a small-time theater company injures her ankle, she's replaced by a lowly assistant stage manager named Polly (Twiggy). Their show gets really wild when a big-time movie director comes recruiting, and Polly falls for her co-star (Christopher Gable). Classic show tunes and grand dance numbers highlight this production of Sandy Wilson's play. 136 min. C/Rtg: G

Four-disc set includes: Easter Parade (1948) Judy Garland and Fred Astaire's only movie together was this spectacular Irving Berlin musical. After splitting with his longtime dance partner, Nadine (Ann Miller), Don (Astaire) recruits chorus girl Hannah (Garland) to join him. The new dancing duo starts to fall for each other, but it could all come crashing down when Hannah thinks Don harbors feelings for Nadine. Peter Lawford co-stars. Songs include the title song, "A Couple of Swells," "Steppin' Out with My Baby," and more. 103 min. C/Rtg: NR The Band Wagon (1953) Director Vincente Minnelli's charming musical comedy stars Fred Astaire as Tony Hunter, a once-popular dancer/actor who hopes to rebound with a new Broadway show. While dealing with his difficult leading lady (Cyd Charisse), Tony finds his comeback endangered when the flamboyant director (Jack Buchanan) changes the breezy comedy into a dark updating of "Faust." With Nanette Fabray, Oscar Levant; songs include "Dancing in the Dark," "Shine on Your Shoes," "That's Entertainment." 112 min. C/Rtg: NR Silk Stockings (1957) Paris is the setting for this lively musical adaptation of the 1955 Broadway hit (which is itself a version of the classic movie comedy "Ninotchka"), in which an audacious movie producer (Fred Astaire) attempts to woo Soviet operative Ninotchka (Cyd Charisse), who's been sent to the City of Lights to bring a defecting film composter back to Russia. Able support from Jules Munshin, Peter Lorre, and Janis Paige, and a Cole Porter score that includes "Too Bad," "All of You," and the title tune add to the fun. 117 min. C/Rtg: NR Finian's Rainbow (1968) When he emigrated from the Auld Sod to the American South, Finian McLonergan (Fred Astaire) brought along a stolen magical pot of gold. Unfortunately, the leprechaun (Tommy Steele) he pilfered it from has tracked him down... and starts causing magical mischief for the locals. Fun take on the Yip Harburg/Fred Saidy stage hit, an early assignment for Francis Ford Coppola, co-stars Petula Clark, Keenan Wynn, Al Freeman, Jr.; score includes "How Are Things in Glocca Morra?" "Look to the Rainbow." 145 min. C/Rtg: G Standard and Widescreen (Enhanced); Soundtrack: English Dolby Digital mono; Subtitles: English (SDH).

An extravagant showcase of early sound cinema, this 1929 Warner Bros. Extravaganza brings together over 70 stars in a vaudeville-style revue packed with music, comedy, and spectacle. Hosted by Frank Fay, the film marks a turning point in Hollywood history-introducing audiences to the voices of silent-era legends while celebrating the novelty of the Talkies. Highlights include John Barrymore delivering a Shakespearean soliloquy as Richard III, Myrna Loy in two-strip Technicolor as an exotic dancer, French boxing champ Georges Carpentier singing and tapping through "If I Could Learn to Love," and Winnie Lightner's unforgettable rendition of "Singing in the Bathtub." Add appearances from Douglas Fairbanks Jr., Ben Turpin, and even Rin-Tin-Tin, and you have a vibrant time capsule that captures the excitement, excess, and experimental spirit of cinema's leap into sound.

In her first talkie, Bebe Daniels stars as Rio Rita, a Mexican beauty caught between love and suspicion when Texas Ranger Jim Stewart (John Boles) arrives in pursuit of a border bandit known as "The Kinkajou." Adapted from the Ziegfeld stage hit, this pre-Code RKO musical comedy features the film debut of vaudeville duo Wheeler & Woolsey and showcases early Technicolor sequences.

After supporting roles in Flying Down to Rio sent their movie careers soaring, Fred Astaire and Ginger Rogers starred for the first time in this witty and delightful escapade about marriage, divorce and all the romantic complications that come in between. The Gay Divorcee set the style, tone, and behind-the-camera talents for the Astaire/Rogers classics to come and captured five Academy Award nominations including Best Picture.

A dance teacher from Boston (Charles Collins) is tricked into joining a band of pirates, which leads to him being fitted for a noose in California. He catches a break when the mayor's daughter demands the hanging be postponed until he teaches her to waltz, but his problems are only beginning! The Dancing Pirate (1936) received an Academy Award nomination for Best Dance Direction, and was billed as The first dancing musical in 100% new Technicolor.

Elvis Presley goes diving for sunken treasure in a breezy adventure that pairs nautical capers with nightclub cool. The songs-"Love Machine," "I'll Take Love," and the title tune-arrive like souvenirs from a vacation you wish had lasted a week longer. With Dodie Marshall and Elsa Lanchester, it's easygoing fun from the King's later period.

Cruise line magnate T.F. Bellows (W.C. Fields) is certain his new ship will win a transatlantic race with his rival... but to be sure, he arranges for his ne'er-do-well jinx brother S.B. (Fields, again) to board the rival boat! Of course, S.B. gets on the wrong vessel, making for a comically bumpy voyage! Variety extravaganza co-stars Bob Hope (singing "Thanks for the Memories" in his feature debut), Martha Raye, Dorothy Lamour, Ben Blue. 91 min. Standard; Soundtrack: English Dolby Digital mono; Subtitles: English (SDH).

Featuring three dozen stars, Variety Girl is a mammoth musical romance on how a movie star is born set amid the reality of a Hollywood studio! Playing himself, the incomparable Bob Hope reigns as top comic over one of the most star-studded casts ever assembled including Bing Crosby, Gary Cooper, Ray Milland, Alan Ladd, Barbara Stanwyck, Paulette Goddard, Dorothy Lamour and many, many more. Starlet wannabe Amber LaVonne (Olga San Juan) is mistaken for her friend, the beautiful and talented Catherine Brown (Mary Hatcher). While the zany Amber flubs her way from audition to screen test to stage debut, Catherine cannot seem to keep her head above water in dealing with studio head R.J. O'Connell (Frank Ferguson). Along the way, the madness stops only long enough for musical numbers by Pearl Bailey, Spike Jones and His City Slickers, The Mulcays, and a rare puppetoon version of Romeow and Juliacat. Topped off by an A-list all-star variety revue, Variety Girl proves itself to be among the most entertaining and hilarious comedies ever filmed.

HALLELUJAH, BABY! debuted on Broadway in 1967.
Book by Arthur Laurents, Lyrics by Betty Comden and Adolph Green.

Tracks:
1. Overture 4:12
2. My Own Morning 4:09
3. The Slice 3:10
4. Feet Do Yo' Stuff 2:07
5. Watch My Dust 2:01
6. Smile, Smile 2:59
7. Witches' Brew 2:03
8. Another Day 2:05
9. I Wanted To Change Him 2:20
10. Being Good 3:38
11. Act II: Talking To Yourself 4:16
12. Halleluja, Baby! 3:36
13. Not Mine 3:20
14. I Don't Know Where She Got It 3:40
15. Now's The Time

Music composed by Richard Rodgers. Lyrics written by Oscar Hammerstein II.
Principal cast: John Raitt (Curly); Florence Henderson (Laurey); Phyllis Newman (Ado Annie Carnes); Jack Elliott (Will Parker); Irene Carroll (Aunt Eller); Ara Berberian (Jud Fry); Leonard Stokes (Andrew Carnes).
Recorded at Columbia 30th St. Studios, New York, New York between March 16 & 24, 1964. Originally released on Columbia (2610). Includes liner notes by Richard Ridge.
All tracks have been digitally remastered.

Principal cast: Ernestine Jackson (Ruth Younger); Ralph Carter (Travis Younger); Helen Martin (Mrs. Johnson); Joe Morton (Walter Lee Younger); Debbie Allen (Beneatha Younger); Virgina Capers (Mama Lena Younger); Robert Jackson (Joseph Asagai).
Recorded at Columbia Records 30th Street Studio, New York on October 27, 29 and November 2, 1973. Includes liner notes by Robert Brittan and Judd Woldin.
All songs written by Judd Woldin and Robert Brittan.
RAISIN opened at the 46th Street Theatre in New York on October 18, 1973 and ran for 847 performances, closing on December 8, 1975.

Music composed by Cy Coleman. Lyrics written by Michael Stewart.
Principal cast includes: Jim Dale (P.T. Barnum); Glenn Close (Chairy Barnum);
Marianne Tatum (Jenny Lind); Terri White (Joice Heth); Leonard John Crofoot (Tom Thumb); William C. Witter (Ringmaster, Julius Goldschmidt, James A. Bailey).
Recorded at Columbia 52nd St. Studios, New York, New York on May 26-30, 1980.
Originally released on Columbia (36576). Includes liner notes by Jim Dale.
All tracks have been digitally remastered.

Music composed by Andrew Lloyd Webber. Lyrics written by Tim Rice.
Principal cast: Glenn Carter (Jesus); Jerome Pradon (Judas); Renee Castle (mary); Fred Johanson (Pilate); Rik Mayall (Herod); Frederick B. Owens (Caiaphas); Michael Shaeffer (Annas); Tony Vincent (Simon); Cavin Cornwall (Peter).
Producers: Andrew Lloyd Webber, Nigel Wright.
Recorded at Whitfield Street Studios, London, England.

Weill’s last completed work given a fine, dramatic reading.

Lost in the Stars is Weill’s last completed work. It was based on the novel, Cry the Beloved Country by the South African writer, Alan Paton (1903-1988) and represents a very speedy adaptation, since Paton’s book was only published in 1948. Yet by the following year Weill and his librettist, Maxwell Anderson (1888-1959), had written the musical, which opened on Broadway in October 1949, where the original production ran for 273 performances.
 
In brief, the story concerns Stephen Kumalo, an African pastor, serving in a South African country parish, whose son, Absalom, has gone off to find work and a better life in Johannesburg. There he meets Irina, who conceives their child, but he also falls in with some less suitable male company and with these men he takes part in a burglary, during the course of which a white man – ironically, a campaigner for racial equality in Paton’s novel - is killed. When Stephen, unaware of these events, arrives in Johannesburg to search for his son he eventually finds the pregnant Irina and then locates his son, who is in jail, awaiting trial.
 
Inevitably Absalom is found guilty and sentenced to death. Not only are father and son reconciled but Stephen realises Irina’s worth. He marries the couple in jail so that their child will have Absalom’s name, and then takes Irina back to the family home and his parish where she is taken into the family’s care before the death sentence on Absalom is carried out.
 
This is emphatically not a conventional subject for a Broadway musical – like the earlier groundbreaking Showboat, which addressed the issue of miscegenation, it tackles a tough subject but it’s much more gritty than Jerome Kern’s great show. As David Kilroy observes in his excellent note, Lost in the Stars created in 1949 “a musico-dramatic parable of a new social order for an American public floundering with its own racial prejudices in the immediate postwar era.” In fact, in many ways it takes us back to the world of Weill’s collaborations with Bertolt Brecht. For example, there are some similarities in the musical styles. The scoring is for a small ensemble of some sixteen players and quite often the instrumental writing is pungent in a way that recalls those Brecht shows.
 
Lost in the Stars was Weill’s last completed work and it’s a fine creation, its quality emphasised by this excellent performance. We only get the musical numbers together with some of the spoken dialogue but the story line is not compromised.
 
The musical invention is strong; there are several memorable numbers in the show. The best of them fall to the character of Stephen and, in a strong cast, Arthur Woodley is one of the best performers of all. He has a fine, firm voice. His tone is consistently strong and round and his diction is excellent – though the libretto is printed it’s almost superfluous since all the cast enunciate very clearly. Woodley brings dignity and intensity to the role and among the highlights of the entire performance are his renditions of ‘Little Gray House’ and the title song. He also gives an excellent account of the emotionally charged soliloquy, ‘O Tixo, Tixo, Help Me!’ in Act II.
 
The other principal character is Irina, Absalom’s girlfriend. Cynthia Clarey gives a strong account of Irina’s music, singing ‘Stay Well’ expressively and delivering the touching ‘Trouble Man’ with real feeling. My one reservation is that her voice is a big, mature instrument and it might be thought rather too heavy to suggest a young, frightened and vulnerable girl.
 
Also impressive is Gregory Hopkins as the Leader of the chorus. He has a ringing, pliant tenor voice, which serves the opening number ‘The Hills of Ixopo’ very well. Even better is the ardent song, ‘Cry the Beloved Country’. Incidentally, great trouble has evidently been taken to ensure authentic pronunciation by all the cast; an adviser from the South African embassy, Tuli Demikude, was retained specially for this purpose
 
The chorus and orchestra are very fine indeed, bringing out all the tension and bite in Weill’s score but providing the right emotional charge. Julius Rudel directs proceedings with evident commitment to the score. The rhythms are kept tight and the memorable tunes flow most convincingly.
 
The recorded sound is perhaps a little close but not in any troubling way. Indeed, there’s rather a feel of the performance being mounted in a small theatre. Perhaps, though, that feeling is more down to the dramatic flair of this performance. The work clearly matters a great deal to Rudel, who says in a brief introductory comment that he regards it as “a composition of great depth, deceptively couched in simple settings.” That belief in the score shines through in his fine, dramatic reading.
 
Originally made for the MusicMasters catalogue, it’s excellent news that the recording has now been reissued by Nimbus. All admirers of Kurt Weill will want to add it to their collections but it should be heard by anyone interested in the unique art-form that is the American Musical.
 
-- John Quinn, MusicWeb International

This is part of the Sony Broadway reissue series.

Principal cast: Bob Holiday (Superman/Clark Kent); Jack Cassidy (Max Mencken); Patricia Marand (Lois Lane); Eric Mason (Perry White) Linda Lavin (Sydney); Michael O'Sullivan (Dr. Abner Sedgwick); Don Chastain (Jim Morgan).
Engineers: Fred Plaut, Robert Waller, Ted Brosnan.
Recorded at CBS 30th Street Studio, New York on April 3, 1966. Includes liner notes by Didier C. Deutsch and Lee Adams.
All songs by Charles Strouse and Lee Adams.
IT'S A BIRD, IT'S A PLANE, IT'S SUPERMAN opened at the Alvin Theater in New York on March 29, 1966 and ran for 129 performances, closing on July 17, 1966.

Music composed by Mitch Leigh. Lyrics written by Joe Darion.
Performed by the America Theatre Orchestra, conducted by Paul Gemignani.
Principal cast: Placido Domingo (Don Quixote/Cervantes); Mandy Patinkin (Sancho Panza); Aldonza (Julia Migenes); Carolann Page (Antonia); Jerry Hadley (Padre); Rosalind Elias (Houskeeper); Robert White (Barber); Samuel Ramey (Innkeeper);
Placido Domingo, Jr. (Anselmo); Alvaro Domingo (Pedro).
Recorded at BMG Studio A, New York, New York on June 4-6, 1990. Includes liner notes by Mervyn Rothstein.

Music composed by Cy Coleman. Lyrics written by Ira Glasman.
Principal cast includes: Pamela Isaacs (Queen); Kevin Ramsey (Fleetwood); Lillias White (Sonja); Chuck Cooper (Memphis); Sam Harris (Jojo); Bellamy Young (Mary); Vernel Bagneris (Lacy); Rich Herbert (Lou); Gordon Joseph Weiss
(Snickers).
Recorded at Clinton Studios, New York, New York on May 5, 1997. Includes liner notes by A.E. Hotchner.
THE LIFE was nominated for a 1998 Grammy Award for Best Musical Show.

Coup Fatal (Fatal Blow) is an original encounter between Baroque and Congolese music. Organized around Fabrizio Cassol (musical director), Serge Kakudji (countertenor) and Rodriguez Vangama (conductor/guitarist), they have been elaborating for several years a ‘Baroque recital’ the likes of which have never been heard. Live, the show is staged and choreographed by Alain Platel, who leads the company of 13 musicians into a universe where songs, traditional African instruments and dances are one. In this new exploration of the repertoire, Baroque ‘hits’ unite with folk music.