From original programs, scholars determined that entire numbers were missing. Krasker and his team of Russell Warner, Larry Moore, and Keith Wiggs consulted contemporary recordings made by the principals and original copyists' piano scores for directions on how to proceed. Russell Warner - a fabulous arranger who also knows the history of Broadway orchestration - supplied new charts for the missing numbers. We probably have come as close as we can to the original production. The result is as bright as new paint.
I've not always liked Mauceri's work, but this strikes me as one of his best recordings. Some of the best studio musicians in New York comprise the orchestra, including Julius Baker on flute, Dick Hyman on piano, and Matthew Raimondi on violin. The orchestra both sparkles and dances.
I should mention that the original orchestra was no slouch either. Nichols recommended Miller to Gershwin.
It was singularly fortuitous. Both Gershwin and Miller shared the composition teacher Joseph Schillinger.
In this show, the producers hired a male quartet known professionally as the Foursome, who at one point came up with a "comedy" instrumentation for a reprise of "Bidin' My Time" of jew's harp, harmonica, ocarina, and tin flute. Unfortunately, this hasn't survived.
Russell Warner provides a lovely arrangement for ocarina, tin flute, harmonica, and bass - alone almost worth the price of the CD. The cast, on the other hand, is maddeningly inconsistent. The members of the original included Ginger Rogers, the Yiddish dialect comedian Willie Howard signed by the producers when the great Bert Lahr - their original choice - became unavailable for legal reasons , and the mighty at the time, very sexy Ethel Merman in her Broadway debut.
The producer Vinton Freedley discovered her singing at the Brooklyn Paramount theater and immediately signed her to the show. He knew exactly what he found. In the first act, Merman, as Frisco Kate Fothergill, sang not at all, leading the audience to regard hers as a speaking part. She stopped the show.
This was closely followed by "I Got Rhythm," where she held a note for 16 bars as the pit band continued the jumping chorus and stopped the show again. According to several sources, including the surprisingly modest Ethel, "the audience went crazy. Lorna Luft takes on the Merman role and makes very little of it.
Day In - Day Out. When the day came, I just couldn't let him go, and I couldn't handle even being in the room. Get promoted. Refresh and try again. It's All Right With Me. Stiff Upper Lip. I was content in our relationship and didn't push the subject once for all our years together.
What will I do with it now? Remember walkin' in the sand Remember walkin' hand in hand Remember the night was so exciting Remember his smile was so inviting Remember then he touched my cheek Remember with his fingertips Seems like the other day My baby went away He went away 'cross the sea. My body beats and I'm feeling raw Too much space where you belong Somewhere dark and warm Feeling so right, to be wrong!
Too much places I had fun Playing the game, scoring my name Couldn't have been so wrong! His nature's funny Quarrelsome half the time And as for money He hasn't got a dime And here's the joker I might have had a broker Boy! When a guy looks my way Does he get emphatic? Say he gets dramatic I just want to fly away But if I left him I'd be all at sea I'm just a slavey, life is a funny thing He's got the gravy, I got a wedding ring And still I love him There's nobody above him Boy!
My life he's wrecking Bet you could find him now Out somewhere necking Somebody else's Frau You get to know life When married to a lowlife Boy! We'll have things fixed soon. Facebook Twitter Instagram Youtube.