曲目リスト
1 | The Girl Who Has Everything |
2 | The Five-Fifteen |
3 | Mother Darling |
4 | Goin' Places |
5 | Marry Well |
6 | Hominy Grits |
7 | Peas in a Pod |
8 | Drift Away |
9 | The Five-Fifteen (reprise) |
10 | Daddy's Girl |
11 | The Telegram |
12 | Will You? |
13 | The Revolutionary Costume for Today |
14 | The Cake I Had |
15 | Entering Grey Gardens |
16 | The House We Live In |
17 | Jerry Likes My Corn |
18 | Around the World |
19 | Choose To Be Happy |
20 | Around the World (reprise) |
21 | Another Winter in a Summer Town |
22 | The Girl Who Has Everything (reprise) |
商品の説明
Amazonレビュー
Based on the Maysles brothers' cult 1975 documentary of the same name, this musical is an endearing-and sometimes genuinely heartwrenching-oddity propelled by Christine Ebersole's exceptional, for-the-history-books performance. The movie followed the kooky duo of Edith Bouvier Beale and her daughter, Little Edie Beale, as they lived with their 52 cats in a derelict East Hampton mansion. The show's first act, set in 1941, is a prologue of sorts, while the second act, set in 1973, follows the movie closely. Ebersole plays Edith in Act I (which she concludes in dazzling manner with "Will You?") and Little Edie in Act II (when Mary Louise Wilson comes in to play the mother). And while Wilson is superb, this is Ebersole's show. Technically, she is flawless-just listen to the way she changes her voice between the acts-but she also makes Little Edie a poignant eccentric, a lost soul stuck in a world of deluded, decaying grandeur. It all peaks in the poignant "Around the World," the show's best song and an Ebersole tour de force. Note that this recording documents the Off-Broadway production; the show transferred to Broadway in the fall of 2006 with a slightly altered first act. --Elisabeth Vincentelli
登録情報
- メーカーにより製造中止になりました : いいえ
- 製品サイズ : 14.33 x 1.27 x 12.83 cm; 136.08 g
- メーカー : P.S. Classics
- EAN : 0803607064228
- レーベル : P.S. Classics
- ASIN : B000G75A9I
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 801,777位ミュージック (ミュージックの売れ筋ランキングを見る)
- - 32,182位サウンドトラック (ミュージック)
- - 293,685位輸入盤
- カスタマーレビュー:
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トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
1幕目のWill you?と、2幕目の Around the World、それからAnother Winter in a Summer Town の3曲の美しさは比類ありません。ミュージカル好きにはぜひお勧め。
他の国からのトップレビュー
The story of Edith "Big Edie" Bouvier Beale, and her daughter "Little Edie" is by now very well-known, thanks to the documentary. They became unfortunate figures of ridicule for some, but most were captivated by their bittersweet tale. The theme of bittersweet, and lives half-lived, permeates through the musical GREY GARDENS. Quite simply, it's the best new musical I've come across in a long, long time.
The show opens in 1941, with Big Edie (played by Christine Ebersole) hosting a party at her elegant East Hampton estate Grey Gardens, where her daughter Little Edie (Sara Gettelfinger) hopes to announce her impending engagement to Joe Kennedy Jr., (Matt Cavenaugh). When her dreams are dashed, Little Edie sadly - and somewhat unknowingly - resigns herself to a life of spinsterhood at Grey Gardens... Their demented relationship is sealed by Big Edie's "Will You?".
In Act Two, the elegant mansion is transformed into a delapidated wreck circa 1973. Big Edie (now played by Mary Louise Wilson) is a bedridden, somewhat senile recluse, cared for by Little Edie (now played by Christine Ebersole) who has grown embittered by resentment and regret.
The overreaching theme of the piece is captured in "Around the World", in which Little Edie imagines finally walking away from her mother's shadow. Ebersole's 11 o'clock number "Another Winter in a Summer Town" is also heartbreaking. There are also funnier, lighter pieces like "The Revolutionary Costume for Today" and "Jerry Likes My Corn" for the two actresses to sink their teeth into.
It's about time that Christine Ebersole is finally receiving her due, following years of solid work on Broadway (most recently a Tony-winning performance as Dorothy Brock in the revival of "42nd Street"), but I doubt that Ebersole has ever had a musical that best captures all her colours than GREY GARDENS. It is indeed the role and the musical that Ebersole has been waiting for all her life. Ebersole and Mary Louise Wilson bookend each other beautifully in their dual-performance as Big Edie.
Sara Gettelfinger (who rose to fame replacing no-show Jenna Elfman in "Nine" and later won the coveted role of Jolene in "Dirty Rotten Scoundrels") plays Little Edie in Act One, and gives a delightful performance as the "Body Beautiful Beale" with tons of potential, later squandered in the name of duty. Matt Cavenaugh quietly plays down the role of Joe Jr., with John McMartin (as Edith's father "Major" Bouvier) also very fine.
This recording features the cast and music as heard during the show's Off-Broadway run at Playwrights Horizons. I heartily and wholly recommend GREY GARDENS, a musical that proudly wears it's wounded heart on it's sleeve.
[PS Classics/Image Entertainment 642]
POSTSCRIPT (11th June 2007): The PS Classics label has just released a new edition of the GREY GARDENS cast album to reflect the changes in cast and score since the musical transferred to Broadway. Erin Davie replaces Sara Gettelfinger as "Little Edie" in Act One; and Kelsey Fowler replaces Audrey Twitchell in the role of "Lee Bouvier".
New numbers added to the score are "The Girl Who Has Everything," "Goin' Places," "Marry Well", a new ending to replace "Peas in a Pod"; plus the unrecorded "Telegram". Most of the recorded performances from the original album session have been used here again, except for the songs that required Davie and Fowler, and those have been completely re-recorded.
The original Off-Broadway cast recording (which was the subject of my initial review above) has now been discontinued and replaced by this current recording. No doubt this will be a confusing subject for a few people, but I'm glad that such a rewarding musical like GREY GARDENS has already garnered two separate recordings.
2006年11月10日にアメリカ合衆国でレビュー済み
The story of Edith "Big Edie" Bouvier Beale, and her daughter "Little Edie" is by now very well-known, thanks to the documentary. They became unfortunate figures of ridicule for some, but most were captivated by their bittersweet tale. The theme of bittersweet, and lives half-lived, permeates through the musical GREY GARDENS. Quite simply, it's the best new musical I've come across in a long, long time.
The show opens in 1941, with Big Edie (played by Christine Ebersole) hosting a party at her elegant East Hampton estate Grey Gardens, where her daughter Little Edie (Sara Gettelfinger) hopes to announce her impending engagement to Joe Kennedy Jr., (Matt Cavenaugh). When her dreams are dashed, Little Edie sadly - and somewhat unknowingly - resigns herself to a life of spinsterhood at Grey Gardens... Their demented relationship is sealed by Big Edie's "Will You?".
In Act Two, the elegant mansion is transformed into a delapidated wreck circa 1973. Big Edie (now played by Mary Louise Wilson) is a bedridden, somewhat senile recluse, cared for by Little Edie (now played by Christine Ebersole) who has grown embittered by resentment and regret.
The overreaching theme of the piece is captured in "Around the World", in which Little Edie imagines finally walking away from her mother's shadow. Ebersole's 11 o'clock number "Another Winter in a Summer Town" is also heartbreaking. There are also funnier, lighter pieces like "The Revolutionary Costume for Today" and "Jerry Likes My Corn" for the two actresses to sink their teeth into.
It's about time that Christine Ebersole is finally receiving her due, following years of solid work on Broadway (most recently a Tony-winning performance as Dorothy Brock in the revival of "42nd Street"), but I doubt that Ebersole has ever had a musical that best captures all her colours than GREY GARDENS. It is indeed the role and the musical that Ebersole has been waiting for all her life. Ebersole and Mary Louise Wilson bookend each other beautifully in their dual-performance as Big Edie.
Sara Gettelfinger (who rose to fame replacing no-show Jenna Elfman in "Nine" and later won the coveted role of Jolene in "Dirty Rotten Scoundrels") plays Little Edie in Act One, and gives a delightful performance as the "Body Beautiful Beale" with tons of potential, later squandered in the name of duty. Matt Cavenaugh quietly plays down the role of Joe Jr., with John McMartin (as Edith's father "Major" Bouvier) also very fine.
This recording features the cast and music as heard during the show's Off-Broadway run at Playwrights Horizons. I heartily and wholly recommend GREY GARDENS, a musical that proudly wears it's wounded heart on it's sleeve.
[PS Classics/Image Entertainment 642]
POSTSCRIPT (11th June 2007): The PS Classics label has just released a new edition of the GREY GARDENS cast album to reflect the changes in cast and score since the musical transferred to Broadway. Erin Davie replaces Sara Gettelfinger as "Little Edie" in Act One; and Kelsey Fowler replaces Audrey Twitchell in the role of "Lee Bouvier".
New numbers added to the score are "The Girl Who Has Everything," "Goin' Places," "Marry Well", a new ending to replace "Peas in a Pod"; plus the unrecorded "Telegram". Most of the recorded performances from the original album session have been used here again, except for the songs that required Davie and Fowler, and those have been completely re-recorded.
The original Off-Broadway cast recording (which was the subject of my initial review above) has now been discontinued and replaced by this current recording. No doubt this will be a confusing subject for a few people, but I'm glad that such a rewarding musical like GREY GARDENS has already garnered two separate recordings.
How best to describe this musical? Well, it was inspired by the documentary of the same name about Jackie Onassis' eccentric relatives, her Aunt and cousin, both named Edie Beale. However, the musical take the documentary one step further by re-imagining what the Beales might have been like in their heyday, as well as why they might have ended the way they did.
So, as many are aware, there are two cast recordings of this fabulous musical. Both recordings were produced by PS Classics. I have both, and highly recommend getting both. However, if you can only afford one, or only want one, here is a summary of the differences between the shows.
The below lists the changes made for the BROADWAY cast album:
1. "Toyland" was replaced with "The Girl Who Has Everything" for the opening number.
2. "Beautiful Body Beale" and "Better Fall Out of Love" were replaced by "Goin' Places."
3. "Being Bouvier" and "Tomorrow's Women" were merged into the song "Marry Well."
4. "Miss Porter's Anthem" was dropped from "The Five Fifteen reprise."
5. "The Telegram," a song in the off-Broadway show, is included on the Broadway cast album.
6. The Sister Marla verse was changed in "Choose to Be Happy" reflecting the song changes in the Broadway version.
7. The "Peas in a Pod reprise" is dropped for a reprise of "The Girl Who Has Everything."
The booklets for both cds are essentially the same. The main difference is that the off-Broadway version has a small interview about how the creators came up with the show, and the Broadway version has more pictures (as well as the artwork/logos used to promote Broadway show).
The biggest difference between the two is in the casting. When the show transferred to Broadway, two of the cast members were replaced.
On the Off-Broadway version, Little Edie is played by Sara Gettelfinger. The role is taken over by Erin Davie on the Broadway version. Both sing the role equally well. Each has a different take on Little Edie. Sara sings in a more elegant and refined voice, however it is Erin that brings out and highlights Little Edie's eccentricities and quirks. Each in their own way prepare the listener for Christine Ebersole as Little Edie in Act Two.
The second change is that Audrey Twitchellm, who played Lee Bouvier, is replaced by Kelsey Fowler. Twitchell outgrew the role she had originated so was replaced by Fowler.
Warning: both versions of GREY GARDENS have the same cd number. So, be sure when you order you specify which version you want. The Off-Broadway version is said to be going out of print. However, it may be awhile before it actually does go out print, so be aware that you might have to email amazon.com if you don't recieve the version of the show you want.
I saw the film GREY GARDENS years ago and remember being haunted by it. I wouldn't have pegged it for musicalization, and I encourage anyone who buys the CD to read the fascinating liner notes explaining the show's evolution. As someone who teaches musical theatre, I found it a remarkable lesson.
No less remarkable is the show itself. The soundtrack has grabbed me and forced repeated listenings as few other shows have done in many years. Topped by a wondrous performance by Christine Ebersole, flanked by Mary Louise Wilson and Sara Gettelfinger (didn't she do that cool Texan cameo in DIRTY ROTTEN SCOUNDRELS?), the score sparkles with one good song after another, each one delineating the characters and evolving relationship of Edith and "Little Edie" Beale. I love how the Act I songs evoke 1940's standards but contain these bizarre flashes of rhythm that undercut our sense of comfort and foreshadow the craziness to follow. As pathetic as these women are, the lyrics can be wonderfully funny. "Hominy Grits" is hysterical and, due to its nature, can probably never be seen or heard outside the context of the show. "Daddy's Girl" shows that Gettelfinger can match Ebersole's emotional heights breakdown for breakdown.
Still, I'd give anything to be able to see Christine Ebersole perform this tour de force double role. The amazing way she shifts character to cover both mother and daughter (and the way Gettelfinger and Wilson's performances mirror hers so beautifully) must be a joy to behold. Every song in Act II is a gem, with "Around the World" perhaps being my favorite. (It keeps haunting me even when the CD is off, so I know I like it.)
I have enjoyed the CDS to DROWSY CHAPERONE and DIRTY ROTTEN SCOUNDRELS exceedingly. This one is perhaps the cream of the crop! To hear three good Broadway scores in just over a year may not sound like much, but it can't help but raise my hopes a little bit about the state of American musical theatre.