How To Succeed in Seeing a Broadway Show (No. It's Not Hard. At All.)

        Hello, dear readers, and welcome to yet another blog post. Readers, when I often tell people I work on Broadway, I am often asked, "Oh. How do I get tickets to (Insert Show Title Here)?" At times, I am happily able to assist in doing so, mainly by offering a discount code for that person. Other times, however, I am only able to impart some info I know, especially with the show I shall refer to as the Fast-Selling Five: Aladdin, The Lion King, Wicked, The Book of Mormon, and, this season's newest entry, Hamilton. The thing is, even for these widely popular shows, there are ways to obtain tickets for shows directly from the shows themselves. I should know, I am one of the people who have helped countless patrons, as well as having been a patron, for many years.
       I start this common tutorial with a metaphor. Suppose you were going to buy a new car. Now, as you can imagine, that takes a lot of research. What type of car is best for you? Is that car affordable? What features make this car a perfect fit? Are there any local deals being offered by the local dealer? Upon gathering such info, you make a decision and go purchase that car from the dealer, hopefully. Same goes with a Broadway show. Presumably, before purchasing theater tickets, similar research is done. You want that best, official deal. Usually, that deal occurs at the box office, or online via Telecharge or Ticketmaster, or over the phone. But what happens if you cannot find that deal? What are you to do now? Believe it or not, the answer may be found in a couple of different places. Several of those answers often result in going to the same place.

1) Go to the official source (but maybe keep an eye open along the way)
         Going to the show web site often provides multiple answers to attending the show of your dreams. Two of these options can be rush tickets or a lottery. Many shows offer one, the other, or both. You can find more info right here. Depending on the show, you may not even have to leave your home to sign up for these tickets. Shows have been doing digital lotteries, where you enter online and are emailed or texted with the results. Another method of getting tickets at the theater is standing room, when if a show is sold out, spots are sold where patrons can stand and watch. Standing room, much like rush and lotteries, isn't something offered by all theaters, so check with the box office. Another way to get tickets for the box office are cancellation tickets. Much like dinner reservations, sometimes, patrons are unable to attend the show and must cancel their tickets for that evening. When the happens, in order to make some dough, the box office itself will resell those tickets at face value. Sure these seats could be in areas of the theater that are expensively priced, but there may be a chance that more affordable tickets are released. It certainly doesn't hurt to check. In fact, on your way to the theater, be on the lookout for street teams for Broadway shows. Often times street teams can be found in the Times Square area distributing flyers that contain discount codes to shows you want to see. Some may be in costume (i.e. women in black bowlers, tops, shorts, with red stockings passing out discounts to Chicago) or wearing show merchandise (i.e. people with show t-shirts, hats, jackets, and/or bags promoting shows such as The Phantom of the Opera or The King and I). These individuals will also be more than willing to provide information, just in case you are looking to see a show purely on impulse.

2) The Theater Development Fund's TKTS Booths (Yes. There's More Than One)
        Perhaps synonymous with discounts on Broadway, the TKTS booth has been providing theatergoers with tickets for over 40 years. The Times Square location, which sells tickets at a discount anywhere between 20% to 50% off its face value, constantly serves as a welcome haven to theatergoers from near and far who wish  to see a show on that same day. Its location is open every day with tickets for evening performances going on sale at 3pm, excluding Tuesdays when tickets are sold starting at 2, and for matinee performances at 10am, except Sundays when matinee tickets are sold beginning at 11am. However did you know that the Times Square location is not the only TKTS booth? Locations also exist at South Street Seaport (at the corner of Front & John Street) and in Downtown Brooklyn (1 MetroTech Center). These booths open a little earlier for evening performances, except the Brooklyn location which is closed Mondays and Sundays, at 11am and also enable theatergoers to purchase tickets for a show that has a matinee the next day. While it is extremely unlikely to purchase tickets for the aforementioned Fast-Selling Five. there are many shows, both Broadway and Off Broadway, that offer tickets. There is an added 4.50 fee, but that money goes to assisting TDF with its various initiatives to assist audience members. Now, the common conception is that these seats are only in the orchestra and front mezzanine.. However, this is not the whole story. Some shows may even offer seats in the more reasonably priced locations. While this is not the norm, it isn't incredibly unlikely either. It certainly doesn't hurt to go a check for a show at the TKTS booths. Also, there is a free app if you find yourself in a time crunch that puts the lists of what booth is offering what. Download it to our smartphone and/or tablet.

3) The Today Tix App
       New to the Broadway discounting scene the past two years, the Today Tix app enables smartphone and tablet users to legally obtain Broadway tickets as well. Having established a relationship with some shows, the app utilizes discount offers and serves as a personal shopper of sorts for the theatergoer, sending people to theaters to purchase tickets and then having them held by one of their concierge agents at the theater prior to the performance. The app offers also offers lotteries and, in a couple of cases, rush for certain shows. One caveat of using the Today Tix app is that, unlike the box office or TKTS, you do not know where your seat will be prior to purchase. Today Tix also alies a $10 fee per order. There is also a possibility that the theater is sold out of the ticket you require, though Today Tix states it will inform the customer if such a scenario occurs.

And Now A Word On Buying Tickets From Scalpers/Brokers
      Referring back to the car analogy, suppose you were on your way to buying that dream car when you come across an ad for that exact car you want. Some individual is selling his car, which they say is in mint condition and heck, they'll even offer you a deal. They may even tell you that the car just sold out at the lot and there is no way you can get your dream car except through them. Chances are you're still going to check with the dealer because if it sounds too good to be true, it usually is. The same should go with purchasing third party tickets on Broadway. It is entirely possible that a scalper may have legit tickets and is offering you at a price that you may be willing to pay, but shouldn't you also check with the source? Tickets, especially recently on Broadway, have been found to be counterfeit, or drastically overcharged. You don't want to pay $65 for a ticket to a show and sit next to some person that only paid $29.  Or, such as the case with these people, not even get into the theater after shelling out hundreds of dollars. Scalpers come in all shapes in sizes. Sure it just may be one man offering you tickets to The Book of Mormon, but I have noticed a growing trend, especially in the Times Square area. Some individuals have been utilizing street teams, similar to the ones utilized by Broadway productions, to attract unsuspecting tourists to an office or storefront they may have with the promise of discounted deals. These street teams can usually be spotted wearing uniforms of some sort advertising their company and holding clipboards, likely with show logos on them. Often times, this may not be the case and tourists find themselves drastically overpaying. In fact, in a recent report by the New York State Attorney General's office, it was found that the scalping may be getting too out of hand You wouldn't buy your car on the say so of some person without at least checking with the source, so why would you pay for your Broadway tickets? The decision is yours, but please do the research. Chances are a simple online search can find the truth in regards to these organizations and what it is the show has to offer.

     All being said, I cannot encourage you enough to use this information and go experience the joy of live theater. As I've stated, anything is possible, it's just a matter of looking into it with the official source, that being the show, and take it from there. Hopefully sometime soon this blog will also be offering discount codes, so if you have a show you want to see, feel free to comment and I will personally look into it. Also, should you have any questions regarding anything I posted, or even didn't post, don't hesitate to use the Comments section as well. I look forward to seeing many of you guys seeing Broadway shows, That about does it for this post. Until the next time, this is Mike signing off, ghost light lighting on!
       

Pop Songs on Broadway: Familiarity Breeds Cash

       Hello, dear readers, and welcome to yet another Big On Broadway post. For this post, I shall discuss a growing trend on Broadway, that of the jukebox musical. For some time now, musicals have reverted to fusing two art worlds: pop music and the stage. There are some cases where this has been successful, as well as others that have proved not be as successful. There are also times when pop music writers have composed strictly for the stage, another prevalent trend in the last decade or so. There is a simple reason for this, one that, having promoted such jukebox musicals. That brings me to my theory.
        Tourists love familiarity. It is as simple as that. If someone is going to spend a substantial amount of money on seeing a Broadway show, they want to know that that show is going to offer something that is worth their money. Often times, when they come to Broadway and hear that their favorite songs  are now being performed on stage, they'll tend to drift toward that show. Hence shows such as Mamma Mia, Beautiful: The Carole King Musical, Jersey Boys, Rock of Ages, American Idiot, Disaster and more have enjoyed success on Broadway. These shows arrive with a fan base already intact, and often, when everything works on stage, they enjoy a multi-year run on Broadway. However, for every Mamma Mia & Beautiful, there's a Lennon, the short lived bio-musical of Beatle John Lennon, and Good Vibrations, the Beach Boys jukebox musical which played on Broadway for only 49 and 94 performances, respectively. However, this has not deterred pop writers from bringing their talents to the stage.
           Broadway, whether we like it or not, has come back to the forefront. It is now "in," thought if you ask me it shouldn't have ever been out. Much like the Great White Way was host to legendary performers who then took their talents to stage in writing songs, from Duke Ellington to Burt Bacharach, during its earlier heyday, we have seen that trend return.  Recent years on Broadway have found the likes of Paul Simon (The Capeman), Harry Connick Jr (Thou Shalt Not), Sir Elton John (Aida, Lestat), Bon Jovi's David Bryan (Memphis, The Toxic Avenger Musical) compose for the stage. The past 3 years on Broadway, we have seen Sting get nominated for a Tony Award for The Last Ship, Duncan Sheik win for his score to Spring Awakening and Cyndi Lauper become the first woman to win the Tony for Best Score for her work on Kinky Boots. This season also has had its share of crossover writers with Sheik returning to Broadway with American Psycho and Sara Bareilles composing the tunes for Waitress. Next season will bring a host of pop icons with The SpongeBob Musical (At press time, those contributing to the score are David Bowie, Aerosmith's Steve Tyler & Joe Perry, Lady Antebellum, John Legend, Lauper and more. Pop stars will continue to write for the stage, and hopefully, audiences will flock to cheer them on.
      The resurgence of pop stars returning to Broadway, whether it be their stories in song, their hits set to a story, or completely original work,will only contribute to the growing awareness and survival of the Broadway musical, an art form many thought at one point was dying. With new artists joining, fresh faces will stroll into Broadway theaters, eager to witness something remarkable.  With these new audiences, Broadway should enjoy a thriving reign in the entertainment world for years to come. Until the next time, this is Mike signing off, ghost light lighting on.

Bringing The Show Experience to a Broader Audience

     Hello, again, dear readers and welcome to yet another post.  As discussed in a previous post, shows often go to great lengths to leave audiences with a personal memento of the experience that they have had at their shows. This post now looks into new lengths into which shows cater to those who may not be able to go to the theater. Throughout the years, in regards to distance and, today especially, price, there are those who find going to a Broadway show to be extremely difficult. Fortunately, producers have become aware of this and now are looking for ways of bringing the show to audiences across the States and/or globe. There have been two prominent ways of doing this: the live cast recording as well as filming performances for widespread distribution.
      The live cast album has become more prominent in the 21st century. In this essence, sound engineers will be brought into the theater, equipment installed, and a performance, or in many cases a couple of performances, will be recorded legally and include elements that cannot be captured in a recording studio, such as audience reaction, some dialogue, and such. Shows that have done this include the Broadway productions of Brooklyn and, very recently, On Your Feet: The Gloria & Emilio Estefan Musical, as well as the 2014 West End revival of Miss Saigon, the 25th Anniversary tour of Les Miserables, Oliver, and The Phantom of the Opera at the Royal Albert Hall across the pond. Through these recordings, actors have been less confined to the studio, and more susceptible to giving a performance of the character on stage. This way, through listening to the CD, audiences can picture witnessing the performance. There is, however, a more literal way of broadcasting the performance.

   As seen above, as early as the 1970s, producers have looked to bring at least a small piece of the action on stage to audiences around the globe. Lately though, audiences have gotten more than a small glimpse of what they're missing on stage. Through film and television, a more broader audience has been given access to live performances. Notable means of doing this on television have included PBS' Great Performances (Billy Elliot, Cats, A Tale of Two Cities, Memphis, Cyrano de Bergerac, Macbeth etc) and Live From Lincoln Center (South Pacific, Contact, Act One, A Light in the Piazza etc) as well as pay-per-view and cable (Jekyll & Hyde & MTV's presentation of Legally Blonde The Musical). In most cases, the exclusion being the Live from Lincoln Center series, these programs have been preserved on home video & DVD. However, for those that have become more the fan of the big screen than the small screen, producers have also shown an intrigue in bringing live performances to cinemas. This has been the case mostly with performances from abroad with the 25th anniversary concert of Les Miserables at the O2 Arena as well as the performance of The Phantom of the Opera at the Royal Albert Hall,  the Australian production of Love Never Dies, as well as the UK's National Theater Live also joining in showcasing live performances. In an intriguing twist, Cameron Mackintosh has announced that the 2014 gala performance of Miss Saigon will also be playing in cinemas in the US prior to the production coming to Broadway. This would prove a risky move had it not been for producer Ken Davenport who offered a free performance via the Internet of the Off Broadway production of Daddy Long Legs. The live stream would prove successful, boosting sales for the show still running Off Broadway) as well as the cast album. Perhaps broadcasting their show should be something more theater producers consider doing.

     Theater should continue to be accessible to those that may not be able to make the trip to Broadway every year. There is no proven fact stating that broadcasting shows legally hinders a show's ability to recoup an investment or lose some luster. In fact, it just may help out the show in the long haul. As the theater world becomes more open to this idea, it shall be interesting to see just how broadcasting of performances evolves. Until the next time, readers, this is Mike signing off, ghost light lighting on.

The Night That I Met Sondheim and The Epiphany That I Had

          Okay, readers, I have an admission to make, two weeks from tomorrow...I turn 28 years old. Now, you may be thinking that 28 is the age where still anything is possible and that you can still change your life. The thing with me is I have had so many incredible experiences for someone who has yet tor each their 30s; experiences that continue to reaffirm that Broadway is the place for me. Now, I have yet to reach that ultimate moment, but let me tell you about one such moment that reaffirmed that Broadway is my true home. It happened two months ago....
        It was a day of bitter cold, the type reserved for a typical January day, which that Tuesday was. I had just busted my you-know-what for five hours at TKTS. Having lost the digital lottery for Hamilton (It was the first day that the hit Broadway musical offered one and their web site crashed) , I resolved to go to my favorite local Irish bar for a nice hot bowl of chili. So, after completing the work day, I headed on over The Mean Fiddler for a beer and, most importantly, a nice bowl of chili that would certainly warm my frigid insides. There was a decent crowd in the Fiddler, filled with people like myself having completed their work day, tourists from nearby hotels, and the pre-theater crowd as the bar was located in the heart of the Theater District. I was just sitting by myself, sipping on my beer, waiting for my chili, when I sense someone standing next to me. I look to my left, and standing there at the bar is Mr Stephen Sondheim.
       Readers, have you ever had one of those moments where you are thinking one thousand thoughts in one instant? That is what I felt when I realized I was right next to Stephen Sondheim. Here was a man whose work I had respected from a very young age, who is widely regarded as one of the greatest composers in Broadway history, and he is standing right next to me at a bar. I was torn between bothering someone who may not want to be bothered and just saying something to him. Eventually, I decided to lean over and, very subtly, state, "I am sure you get this often, but I am a huge fan of your work." Mr Sondheim then turned and thanked me. He asked if I was an actor, and I replied that I wasn't and that I was a marketer and promoter for theater. I further mentioned the fact that it was my buddy Jim who had given me m break (more on that story in a later post) and how Jim has a fun story about messing up a line while in rehearsal for the Broadway production of Assassins and Sondheim had said something to the sense of Jim saying the line better than Sondheim wrote it. Mr Sondheim laughed at this brief, interpreted anecdote and said that he loves sitting in on the rehearsal process to encourage the actors as they make mistakes as that is what the rehearsal is there for. I then asked Mr Sondheim what his favorite adaptation of his work was. He quickly referred to the Roundabout production of Assassins, as well as the more recent revival of Sunday in the Park With George at Roundabout as well as his collaborations with Hal Prince. I told him of my desire to watch Assassins at the Lincoln Center Archives, which Mr. Sondheim greatly encouraged me to, if I could.
     Mr Sondheim and myself then discussed shows we have seen recently and shows I hoped to see soon. I mentioned that the two I really wanted to see next were Hamilton and the recent revival of A View From the Bridge. Sondheim encouraged me to sees A View From the Bridge, which he called "the definition of catharsis." In fact, I learned that Mr. Sondheim was more a fan of dramas then musicals. He bemoaned the fact that both Broadway and London seemed to be dominated by musicals as opposed to plays. In regards to Hamilton, I told Sondheim that I hoped to see the show soon and that, despite my friends' encouragement, planned on listening to the cast album for the show after seeing it. Mr Sondheim then told me there was a reason that my friends were encouraging me to listen to the album prior to seeing Hamilton. He referenced giving Lin Manuel Miranda advice in getting his lyrics and rhythms in a place where audiences could grasp the important information. By this point, Mr Sondheim's husband had joined him and he proceeded to exit the bar as he and his husband was seeing Spring Awakening, playing at the Brooks Atkinson next door. I thanked him for his words of wisdom and asked for a photo with him, which he obliged. Thus ended easily the most remarkable encounter I have ever had in my life.
        Readers. the chance meeting I had with Stephen Sondheim made me come to a realization. As a young professional, it is vital to learn from others who have succeeded in this business and, often times, there will be people, even idols, to assist us in coming to grips with the businesses that we are involved with. It may be hard to believe, but even theatrical legends such as Stephen Sondheim, in regards to Oscar Hammerstein, and Hal Prince, in regards to George Abbott,  looked for wisdom from those that had succeeded when they were starting off their careers. We should honor these idols, but not treat them as some Mount Rushmore that we dare not approach for wisdom, but to look for that right opportunity for them to impart their valuable knowledge to us. It may just even leave us with a great story to tell our friends and family for years to come. I encourage you to look for that right opportunity and simply learn. There is no greater search than the search for knowledge, as I've come to realize. That about does it for my latest blog post. until the next time, this is Mike signing off, ghost light lighting on.

The Magic of Cast Recordings + Top 10 Personal Favorites

       Hello again!! Mike here to dispense some more musings on the beautiful world of musical theater. Readers, we often have many cherished memories of the magical feats we have seen on stage. Often times, we have retain memorabilia from our experiences on stage, whether it be a program, ticket stub, t-shirt, souvenir booklet, or otherwise. However, it is my opinion that nothing quite comes close to memorable keepsakes quite like a good cast recording. Barring the rare circumstance that a show is recorded for DVD distribution, the closest piece of memorabilia that captures the performance we witnessed, or wished we had witnessed, is a cast recording. It is this cast recording that preserves the show for audiences that have seen it, as well as for others that have may have missed out on the show or are currently unable to see it. I have so many cast albums, some from Broadway, some Off Broadway, some direct from the studio whether it be a concept recording or celebrating previously performed works. Here is a Top 10 of those I've listened to and own.

1. The Hunchback of Notre Dame (Studio Cast Recording)

Whether one is a fan of the 1996 Disney animated film or just a beautiful cast recording in general, this album is a must have. Having had the pleasure of seeing the stage production staged at Paper Mill Playhouse in New Jersey, I can attest that this album is the perfect representation of what I witnessed on the Paper Mill stage, combining Alan Menken & Stephen Schwartz's reverent score with the narration of the show that made this show so spectacular. The leads are sensational, whether it be Michael Arden's heartbreaking title character, Patrick Page's villainous Claude Frollo, Andrew Samonsky's dashing Phoebus, Ciara Renee's enchanting Esmeralda, Erik Liberman's comic Clopin, and an ensemble that exudes excellence.

2) The Phantom of the Opera (25th Anniversary Royal Albert Hall Recording)

In order to celebrate one of the most successful musicals in the world, Andrew Lloyd Webber & Cameron Mackintosh assembled an incredible cast to celebrate the 25th anniversary of the show's world premiere in London. Ramin Karimloo and Sierra Boggess are simply astounding in their takes of the tragic title role and the ingenue Christine Daae, respectively. The album does not require the DVD (though one was released as well) as the entire show, as well as a star studded Grand Finale, is recorded on disc. This is a recording that has been, and continue to, enchant Phans throughout time.

3) Frankenstein - A New Musical (World Premiere Cast Recording)

This is, admittedly, an obscure choice. A short-lived Off Broadway musical, this subsequent cast recording is for the fan of the underdog. This recording really is a testament to the fan, in taking something that established, but loyal, fan base in that it perfectly captures the cast. What perhaps has contributed to the creation of such a recording is the sensational cast. Hunter Foster is astounding as the title role, with the vocal powerhouse that is Christiane Noll as Elizabeth, Steve Blanchard as the sinister Creature, Mandy Bruno as the innocent Justine, Richard White as  the patriarchal Alphonse, Jim Stanek as the reverent Henry, Struan Erlenborn as young, but curious, William, Becky Barta as the inspirational Mother, and an extraordinary ensemble of Aaron Serotsky, Nick Cartell, Casey Erin Clark, Leslie Henstock, and Patrick Mellon . For those that are fans of Frank Wildhorn and dark musicals, definite check out this album on iTunes.

4) Assassins (The Broadway Cast Recording)

The 1st cast album to make the list from a show I unfortunately I did not have the pleasure to see. Perhaps one of Stephen Sondheim's lesser favorable works, this cast album is not just a treasure due to content, but also cast. Tony winner Michael Cerveris showcase a genuinely slimy John Wilkes Booth. James Barbour makes a convincing case for being able to convey a role by being a master storyteller through song as the chilling Czolgosz. Neil Patrick Harris' & Denis O'Hare's Balladeer/Lee Harvey Oswald & Charles Guiteau, respectively, are the devilishly charming types television audiences come now to recognize from turns on How I Met Your Mother (Harris) and True Blood (O'Hare). Marc Kudisch as the perfect introduction to Sondheim's superb score as the Proprietor. Mix in the phenomenal Becky Ann Baker, remarkable Mario Cantone, youthfully exuberant Alexander Gemignani, and charismatic Mary Catherine Garrison, and you have one talented cast to perform an under-appreciated Sondheim masterpiece.

5) School of Rock The Musical (Original Broadway Cast Recording)

The latest from Lord Andrew Lloyd Webber probably ranks among his best in terms of a rock score. Alex Brightman takes a role many associate with Jack Black, who originated the mischievous Dewey Finn in the 2003 film, and completely makes the role his own in brilliant fashion. Sierra Boggess continues to make her case as the lead interpreter of Lloyd Webber's work. Special mention to the kids of School of Rock, most making their Broadway debut. These kids display the poise of Broadway veterans, while also accompanying themselves with an amazing skill set of musicianship. It should also be pointed out that the album is produced by Lloyd Webber and Rob Cavallo, a veteran rock music producer, thus giving this extraordinary album the rock edge it so desperately needs.

6) How to Succeed in Business Without Really Trying (2011 Broadway Cast Recording)

Okay, readers, I have a confession to make. I am not a huge fan of star casting.  for those not familiar with the term, star casting is when the producers of a show decide to put an A-,B-,or C-lister in a role of their Broadway show. This is a very hit or miss move. That said, Daniel Radcliffe's taker on J Pierrepont Finch is perhaps one of the biggest hits in the history of star casting, exemplified beautifully on this album. The rest of the cast, led by John Larroquette, Rose Hemingway, Christopher J Hanke,  Rob Bartlett, Tammy Blanchard, Michael Park, plus an excellent ensemble make this recording of How to Succeed... the ultimate one for any fan of the Pulitzer Prize winning musical comedy.

7) Man of La Mancha (2002 Broadway Revival Cast)

Another show that I had wished I had seen on Broadway because of incredible performance, evident by this cast album. Brian Stokes Mitchell's Cervantes/Don Quixote defines this cast album. Mr. Stokes Mitchell takes the frequently interpreted "Impossible Dream" and inspires the listener to dream along. His "Dulcinea" has the power to make both man and woman simply melt. Fans of the Broadway leading man should definitely grab this cast album to get the pleasure of enjoying perhaps Brian Stokes Mitchell's greatest performance yet.

8) Bonnie & Clyde (Original Broadway Cast Recording)

It is my firm belief that some time from now, someone will stumble across the cast album of Bonnie & Clyde and, after researching the show's history, be shocked the show had such a brief run on the Great White Way. Frank Wildhorn would be Tony nominated for his rockabilly score with leads Jeremy Jordan and Laura Osnes in roles just before skyrocketing to stardom. In fact the Broadway run of Bonnie & Clyde would be so brief, the two would go on to star in new shows and both become Tony nominated, Osnes for her work in Bonnie & Clyde and Jordan for his work in his next show, Disney's Newsies. Following the 2011-12 season, the two would go to great success. Listening to this album is the ultimate example of the greatness that these two achieve.The Bonnie & Clyde Original Broadway Cast Recording succeeds in taking a Broadway musical that could easily be forgotten, and perfectly preserving a remarkable score with an incredible cast.

9) Sunday in the Park with George (Original Broadway Cast Recording)

Another cast album that makes one wish they had a time machine to travel back to the Booth Theater in 1984. Widely regarded as Stephen Sondheim's best work, and the work that won Sondheim and James Lapine the Pulitzer Prize for Drama, this album once again remains a cut above many due to its two leads. Mandy Patinkin's George and Bernadette Peter's Marie/Dot remain as one of the best on-stage couplings in Broadway history, as evident by this album. Combining both dialogue and song excels remarkably well, especially considering the relationship on stage. One could easily argue that this cast album serves as the closest thing to a time machine, as the listener can perhaps envision the performances on the stage of the Booth, if not a DVD of the original Broadway cast, again a rarity for a Broadway show, is in print.

10) In the Heights (Original Broadway Cast Recording)

This is the show that put Lin Manuel Miranda on the map, and rightfully so. This album takes the innovation that won Miranda his first Tony Award for  Best Musical. The album is just sheer brilliance as well, delivering Miranda's clever lyrics as delivered by a stellar cast. The album was also a rarity for me. I entered the show having little knowledge of the show, after having experienced the first act alone, I went to the lobby of the Richard Rodgers and purchased the album. Such was the testament to which I was impressed and, years later, the album still does no disappoint.

    In closing, readers, cast albums create, or recreate, experiences that we may or may not have seen on stage. The cast albums I have mentioned are easily ten albums that have that power for me. Check them out on iTunes and/or Spotify. Feel free to comment below on some cast albums that resonate with you. One general rule of thumb I have is that I do not listen to the cast album of a show currently out that I have not seen, hence why some of you may wonder why a show like Hamilton is not on the list. In fcat, bringing that up gives me a great idea of what my next blog post is going to be. I just may write up on that right now. ;) Until next time, this is Mike signing off, ghost light lighting on.