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1999-03-Broadway Cast

Date de sortie:
Type de CD:
Stage Cast •
Nombre de CD:
1 pour un total de 19 tracks
Ronn Carroll, Trevor McQueen Eaton, Ron Holgate, Cassidy Ladden, Peter Marx, Andrew Palermo, Bernadette Peters, Nikki Snelson, Mia Walker, Tom Wopat, Valerie Wright
01. There's No Business Like Show Business
02. Doin' What Comes Natur'lly
03. The Girl That I Marry
04. You Can't Get a Man with a Gun
05. There's No Business Like Show Business (Reprise)
06. I'll Share It All with You
07. Moonshine Lullaby
08. There's No Busiiness Like Show Business (Reprise)
09. They Say It's Wonderful
10. My Defenses Are Down
11. Finale Act I: You Can't Get A Man With A Gun (Reprise)
12. Entr'acte
13. I Got Lost in His Arms
14. Who Do You Love, I Hope
15. I Got the Sun in the Morning
16. An Old Fashioned Wedding
17. The Girl That I Marry (Reprise)
18. Anything You Can Do
19. Finale Act II: They Say It's Wonderful (Reprise)
Barnes & Noble
Composer Jerome Kern once said, "Irving Berlin has no place in American music -- he is American music." One listen to the wonderful new cast recording of ANNIE GET YOUR GUN, Berlin's 1946 masterwork, turns Kern's praise into understatement. Starring Tony-winning diva Bernadette Peters as the celebrated sharpshooter Annie Oakley and former "Dukes of Hazzard" star Tom Wopat as her scrapping boyfriend, Wild West showman Frank Butler, ANNIE GET YOUR GUN is a veritable greatest hits of Broadway, featuring standards like "Doin' What Comes Natur'lly," "I Got Lost in His Arms," "I Got the Sun in the Morning," and the all-time theater anthem, "There's No Business Like Show Business." Peters is charming as the ornery gal who learns "You Can't Get a Man with a Gun," adding a touch of vulnerability to the role once copyrighted by the brassier Ethel Merman. Wopat's warm baritone glows on "The Girl That I Marry," while his feisty duets with Peters -- "Anything You Can Do (I Can Do Better)" and "They Say It's Wonderful" -- convince you once again that Berlin's music is as fresh, vibrant, and endearing today as it was more than a half-century ago. David Elliot Cohen

All Music Guide

Although the role of Annie Oakley in Irving Berlin's 1946 musical Annie Get Your Gun was written for and most closely associated with bold and brassy Ethel Merman, the part has been effectively interpreted by other actress/singers with less bravura approaches. Betty Hutton brought her usual dizzy energy to the 1950 film version, for example, while Mary Martin gave a warmer and more subtle portrayal both in the first national tour in 1947 and on a live television broadcast in 1957 (chronicled on a TV soundtrack album). Bernadette Peters pays greater attention to the Martin version than any other in her personable performance in the 1999 Broadway revival, an approach consistent with the overall style of the production. Orchestrator Bruce Coughlin takes the music down from the sub-operatic arrangements of Robert Russell Bennett in the original. Responding to the Western subject matter, the decision to add dance sequences, and the new show-within-a-show structure (with its exaggerated staginess), he has come up with charts emphasizing country & western influences that had no place in earlier versions.

Coughlin is also fond of building numbers; for example, the show now starts with a slow, thoughtful rendition of "There's No Business Like Show Business" sung by male lead Tom Wopat that turns into an introduction of the show and the cast, while "I Got the Sun in the Morning" similarly starts as a tender ballad sung by Peters that turns into a square dance-based production number. Meanwhile, "Who Do You Love, I Hope?" gives way to ragtime dance music halfway through. In keeping with this earthier interpretation, the singers eschew the belting of Merman and her cohorts for a close-miked, conversational crooning style full of expressive line readings and interjections. Just as Peters suits this approach, it suits her. She is anything but the kind of stentorian singer Merman was, tending instead toward a breathy huskiness and using a country accent that probably exaggerates Oakley's (she was from Ohio, not Oklahoma) but is right, for instance, for the hillbilly arrangement of "Doin' What Comes Natur'lly." Wopat, best known as a television actor despite obvious vocal gifts, remains more an actor than a singer, but he has considerable presence and his tenor versions of ballads like "They Say It's Wonderful" are very effective.

The stage production on which this cast album is based was criticized on a number of fronts. Peters, it was said, was miscast (though she managed to win the Tony Award); the overall staging was cheaply done; and Peter Stone's politically correct update of the book, which eliminated "I'm an Indian, Too," was excessive. These are fair criticisms, but they don't have much effect on the album. Most recorded versions cut minor songs, anyway. This one also drops "Colonel Buffalo Bill" and "I'm a Bad, Bad Man," but it restores the two songs sung by the second leads, "I'll Share It All With You" and "Who Do You Love, I Hope?," which were cut from the 1966 Broadway revival, and since Andrew Palermo and Nicole Ruth Snelson are a winning couple, that's a plus. On record, anyway, this is an Annie Get Your Gun for the '90s (and given the show's long run, the new century as well), with a more intimate and eclectic style than any before it. ~ William Ruhlmann, Rovi


D'autres versions de cette oeuvre


Généralités: Histoire, thèmes et particularités


Quand dans le Wild West américain, un show s'arrête dans sa ville, Annie Oakley participe à un concours de tir, le gagne et on lui demande de rejoindre la troupe du spectacle. Elle tombe amoureuse de la star du spectacle, Frank Butler, et consent à le rejoindre, bien qu'elle n'ait aucune idée idée de ce que peut être le show business, ce dont l'informe un des tubes du musical "There's No Business Like Show Business".
Durant le musical, Frank, bien qu'insistant sur le fait que la fille qu'il recherhce serait parée de satin… et sentirait l'eau de Cologne, ("The Girl That I Marry), finit par s'amouracher du garçon manqué qu'est Annie.
Malheureusement, son ego sera vite blessé et il deviendra jaloux lorsque Annie sera devenue une star et il la quittera.
Après plusieurs complications, qui gardent Annie et Frank qéparés, ils se retrouvent ensemble pour un dernier duel au tir lors du final du musical "Anything You Can Do". Annie laisse délibérément Frank gagner pour satisfaire son ego, et ils partent ensemble.

Synopsis complet


Historique du musical

Génèse du musical

The musical that celebrates "doin’ what comes natur’lly" began with an idea that was an absolute natural: Ethel Merman as Annie Oakley. Bulls eye.
The idea of doing a musical based on the life of sharpshooter Annie Oakley originated with Dorothy Fields in the mid 1940s, who never considered anyone but her friend Ethel Merman for the lead. (By this time Herbert and Dorothy Fields had co-authored four musicals for Merman, the most recent being SOMETHING FOR THE BOYS in 1943). Merman instantly agreed to take on the show, but when the Fields’ longtime producer Mike Todd turned the project down, they took it to a team of producers who, though novices in the field of producing, knew a thing or two about musicals nevertheless—Richard Rodgers and Oscar Hammerstein II.
Having scored with two folk American musicals of their own (OKLAHOMA! and CAROUSEL), Rodgers & Hammerstein were all too happy to sign on as producers of what was originally called ANNIE OAKLEY. Hammerstein's longtime partner Jerome Kern was to write the music, Dorothy Fields the lyrics, and Dorothy and Herbert were to co-author the book. Jerome Kern's sudden death in November of 1945 changed everything.
Rather than scuttle plans for ANNIE OAKLEY, Rodgers, Hammerstein and the Fields turned instead towards finding the right team or person to take on the job of writing the score. All four felt unanimously that there was one person absolutely right for the job, but since he wrote words as well as music, Dorothy Fields would have to relinquish her role as lyricist. She had no trouble making her decision—if Irving Berlin would write the score for ANNIE OAKLEY, Dorothy Fields would happily step aside.
Irving Berlin had not written for Broadway since LOUISIANA PURCHASE in 1940, and, fresh from a patriotic three year stint with his revue THIS IS THE ARMY, he was at first skeptical that his unique style was still in fashion. The musical revolution that Rodgers & Hammerstein had fomented with OKLAHOMA! changed the rules, and Berlin wasn’t sure he wanted to play by them. Still, it made sense when Rodgers & Hammerstein suggested that Berlin borrow the script, look at it over the weekend and see if he couldn't come up with a tune or two.
Berlin took their advice and the following Monday morning he came bounding into their office with three completed songs under his arms: "You Can’t Get a Man with a Gun," "Doin’ What Comes Natur’lly," and "There’s No Business Like Show Business." Bulls eye again.
Directed by Joshua Logan, with sets by Jo Mielziner and costumes by Lucinda Ballard, starring Ethel Merman as Annie Oakley and Ray Middleton as Frank Butler, and with a rousing new title, ANNIE GET YOUR GUN opened at the Imperial Theatre, New York, on May 16, 1946. It was a smash success and the critics cheered.
"For verve and buoyancy, unslackening, there has seldom if ever been a show like it," said William Hawkins in the World Telegram. In the Post Vernon Rice declared "Irving Berlin has outdone himself this time. No use trying to pick a hit tune, for all the tunes are hits." Lewis Nichols of the New York Times modestly maintained that "it takes little gift of prophecy to add that [ANNIE GET YOUR GUN and Ethel Merman] will chant their saga of sharp-shooting for many months to come." In fact, ANNIE GET YOUR GUN ran on Broadway for an astounding 1,147 performances. (The first musical after OKLAHOMA! to go over the 1000+ performance plateau, ANNIE GET YOUR GUN was, along with Rodgers & Hammerstein's OKLAHOMA!, SOUTH PACIFIC and THE KING AND I, part of the elite quartet of longest running musicals in Broadway's golden era.)
Dolores Gray starred in the 1947 London production, which ran at the Coliseum for 1,304 performances. Mary Martin headed the U.S. national tour, which began in October of 1947 and travelled for nineteen months; she subsequently played Annie to John Raitt's Ray Butler in a 1957 NBC telecast. MGM released the movie version of ANNIE GET YOUR GUN in 1956; Betty Hutton starred (in a role originally slated for Judy Garland), and Howard Keel played Butler.
In 1966 Ethel Merman re-created her role in a Music Theater of Lincoln Center production, presented by Richard Rodgers. Irving Berlin wrote a new song for this production, "An Old Fashioned Wedding."
In the years since, hundreds of actresses have played Annie Oakley, from Paris (ANNIE DU FAR-WEST) to Berlin (SCHIESS LOS, ANNIE!), from Evi Hayes in Melbourne, Australia to Chiemi Eri in Tokyo, Japan. ANNIE GET YOUR GUN has been seen in Kuala Lumpur, Zimbabewe, Venezuela and throughout Europe. The R&H Theatre Library, which licenses productions of ANNIE GET YOUR GUN, estimates that 450 productions are given in the United States every year.
In the 1990s ANNIE GET YOUR GUN kept "doin’ what comes natur’lly" with a sumptuous studio recording from EMI Records, featuring Kim Criswell and Thomas Hampson under the musical direction of John McGlinn; a U.S. national tour starring Cathy Rigby, directed by Susan Schulman, which originated at the Houston Grand Opera in July 1992 and toured throughout the following year; and a U.K. national tour and West End production starring Kim Criswell and John Dierdrich.
At the end of the 20th century Annie Oakley aimed her bullets over Broadway once more, with a Tony winning revival starring Bernadette Peters and Tom Wopat. Opening in April 1999, it ran on Broadway for over two and a half years, and spawned a successful national tour. In its second year, country music star Reba McEntire made her Broadway debut in the title role, and took the town by storm.
"Berlin’s greatest achievement in the theater," wrote New York Post critic Clive Barnes about the ’99 revival, "should carry ANNIE GET YOUR GUN happily into the next century and a bit beyond. It will always be a musical for the ages, one of the Broadway theater’s enduring triumphs."



Liste des chansons

Acte I
Overture — Orchestra
"Buffalo Bill" — Charlie Davenport, Dolly Tate & Chorus
"I'm a Bad, Bad Man" — Frank Butler
"Doin' What Comes Natur'lly" — Annie and her siblings
"The Girl That I Marry" — Frank and Annie
"You Can't Get a Man with a Gun" — Annie
"There's No Business Like Show Business" — Frank, Charlie Davenport, Annie, and ensemble
"They Say It's Wonderful" — Annie and Frank
"Moonshine Lullaby" § — Annie and siblings
"I'll Share It All With You" — Winnie Tate and Tommy Keeler
"Ballyhoo" — Riding Mistress and Show People
"There's No Business Like Show Business" (Reprise) — Annie Oakley
"My Defenses Are Down" — Frank and ensemble
"Wild Horse Ceremonial Dance" — Wild Horse, Indian Braves and Maidens
"I'm an Indian, Too" — Annie and ensemble
Adoption Dance — Annie Oakley, Wild Horse and Braves

Acte II
Act II Entr'acte — Orchestra
"I Got Lost In His Arms" § — Annie
"Who Do You Love, I Hope" — Winnie Tate and Tommy Keeler
"I Got the Sun in the Morning" — Annie and ensemble
"They Say It's Wonderful" (Reprise) — Annie Oakley and Frank Butler
"The Girl That I Marry" (Reprise) — Frank Butler
"Anything You Can Do" — Annie and Frank
"Show Business" (Reprise) — Ensemble

§ omitted from the 1950 film version
"Let's Go West Again" was written by Berlin for the 1950 film but was not used. However, there are recordings by both Betty Hutton and Judy Garland

Acte I
"There's No Business Like Show Business" - Frank and Company
"Doin' What Comes Natur'lly" — Annie, Kids and Foster Wilson
"The Girl That I Marry" — Frank and Annie
"You Can't Get a Man with a Gun" — Annie
"There's No Business Like Show Business" (Reprise) — Frank, Buffalo Bill, Charlie and Annie
"I'll Share It All With You" — Tommy, Winnie and Company
"Moonshine Lullaby" — Annie, Kids, Ensemble Trio
"There's No Business Like Show Business" (Reprise) — Annie
"They Say It's Wonderful" — Annie and Frank
"My Defenses Are Down" — Frank and Young Men
Finale: "You Can't Get a Man with a Gun (Reprise)" - Annie

Acte II
Entracte: The European Tour — Annie and Company
"I Got Lost In His Arms" — Annie
"Who Do You Love, I Hope" — Tommy, Winnie and Company
"I Got the Sun in the Morning" — Annie and Company
"An Old-Fashioned Wedding" - Annie and Frank
"The Girl That I Marry" (Reprise) — Frank
"Anything You Can Do" — Annie and Frank
"They Say It's Wonderful" (Reprise) — Annie, Frank and Company

Liste des rôles

Annie Oakley—a sharpshooter in the Wild West show
Frank Butler—the Wild West show's star
Foster Wilson—hotel owner
Chief Sitting Bull—Sioux warrior; Annie's protector, but used by Pawnee Bill's competing show
Tommy Keeler—knife-thrower in the Wild West show; Winnie's boyfriend; part Native American
Charlie Davenport—manager of the Wild West show
Winnie Tate—Dolly's daughter (sister in the 1999 revival); Tommy's girlfriend and his assistant in the knife-throwing act
Col. William F. Cody (Buffalo Bill)-owner of the Wild West show
Dolly Tate—Frank's assistant; Winnie's mother (sister in the 1999 revival)
Pawnee Bill—owner of a competing western show
Annie's brothers and sisters: Jessie, Nellie, Little Jake, and Minnie (Minnie was written out of the 1999 revival[4])

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Principaux CD du musical

1) 1946-05-Original Broadway Cast

2) 1947-07-Original London Cast

3) 1950-05-Film Soundtrack

4) 1957-??-Studio Cast

5) 1963-05-Berlin Cast

6) 1966-05-Lincoln Center Cast

7) 1986-07-London Cast

8) 1995-??-London Studio Cast

9) 1999-03-Broadway Cast

10) 2000-12-German Cast

Liste détaillée des principaux CD