By now, the merchandising program is always in place when
PBS
sponsors another documentary series, whether one of
Ken Burns
' historical efforts or the films grouped under the heading
The Blues
in 2003, organized by
Martin Scorsese
: among other keepsakes, there is the coffee-table companion book, the DVD set, and, for the musical programs, the CD box set. All of these were rolled out in connection with
Broadway: The American Musical
, a six-part documentary broadcast in October 2004. And this single-disc CD is the cheapest item in the bunch (unless, perhaps, there's also a coffee mug), much less expensive than the box set of five CDs. Although it is called
The Best of Broadway: The American Musical
, it is not exactly a reduction of that set. The compilers have taken the opportunity to make alternate choices of material (one song per show) in several instances. Here, the title song from
Oklahoma!
is picked instead of
"Oh, What a Beautiful Mornin',"
"America"
from
West Side Story
replaces
"Tonight,"
and the title song from
Cabaret
is employed instead of
"Willkommen."
The other 18 tracks all appear on the box set. Even at nearly 77 minutes, of course, this sort of collection is nothing more than a sampler, but since there are many similar compilations in the marketplace, it's worth noting that this one ranges across record labels and presents the original Broadway cast recordings wherever possible in excellent sound quality. (Tracks like
"Swanee"
and
"You're the Top"
date from before the era of original-cast recordings that began in the 1940s, but do feature the original stage performers.) Taking the Broadway
musical
from the 1910s to the 2000s in such a short length of time naturally makes for the occasional odd juxtaposition, but then that gives a sense of the variety of kinds of music subsumed under the term "
show music
." When
Hair
's
"Let the Sunshine In"
(as it is called here; actually, the correct title is
"The Flesh Failures"
) gives way to
"Send in the Clowns"
A Little Night Music
, you can't help thinking that there's room on Broadway for some very different musical sensibilities, a notion only reinforced by the appearance of the music of
Andrew Lloyd Webber
(
"Memory,"
"The Music of the Night"
) toward the end. This also means that, no matter what Broadway fan listens to this disc, there will be some music likely not to appeal, which may indicate that the compilers have gotten it just about right. (Not so impressive are
Laurence Maslon
's liner notes, which would have benefited from a more careful editor and proofreader, but even so are needlessly pretentious. Readers are likely to be sent to the dictionary after reading that
is a "bit of stichomythia" or that
Michael Crawford
is "gracefully crepuscular," only to discover that
Maslon
could have used simpler words to greater effect.) ~ William Ruhlmann