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For those whose musical theatrical reference points reach especially far back and wide, the beginning of spring might recall a zingy, springy song called "Green-Up Time" from a show called Love Life. But some sixty theatre seasons later, the greening up nowadays (other than still in the limelight be-witching Wicked or the returning trip to the emerald city of Oz at MSG), the green scene means Shrek, the jolly green giant whose cast album gets our ear this week. So does the first solo album of the green-jeweled gown leading lady in that show, Sutton Foster.
Unless you've been living in an isolated swamp (as the show's titular hero does), you probably have at least a passing familiarity with Shrek: the children's book, the film and its sequels, and/or the Broadway show whose splashy, spiffy cast recording has arrived. With its oft-told tale and heavily referenced older fairy tale characters, you may think you've heard too many variations with slight variations on the theme before. It's the old big, socially challenged, monster type meets and somehow charms the fair maiden/princess with her crowning glory story and love is blind, or at least nearsighted. Unlike his tortured soul cousins of the Phantom, the Beast, the Hunchback or Frankenstein's Monster, the big galoot of a galumphing green guy provides more fun and less angst. Coming through in the on-target performances by Brian d'Arcy James as Shrek is some grandstanding, welcome sensitivity without too much mawkish mush or macho mucking around. His song of yearning to have been a dashing hero or poet, "Who I'd Be," is not oversold or overcooked or over the top. But being a reviled, rejected malodorous ogre does make one angry and hurt, and that frustration and rage comes spitting out theatrically and with a catharsis at other times and adds variety and interest. With some emphasis on the outsider being accepted and wearing outsider/unique individual status like a combo badge of honor and cross to bear, there is also some "message" agenda, with a motley crew of fairy tale characters. However, it's not quite a case of the tale wagging the dogma; it's done with fun in a high-energy song about waving your own "Freak Flag." Though there are sweet moments and musical power-punches, the emphasis is on humor and frothy entertainment. As far as overriding tone, a word to the wise-ass: you'll be happy—this is your kind of snarky, snide ride through storyland. You'll find plenty of sarcasm and irreverence and gross bits, with characters making trading insults in passing, passing gas and crass remarks. Christopher Sieber and others as the meanies to greenies add some showy, spicy fun, and John Tartaglia as the whiny hokey and jokey Pinocchio, the wood-be flesh and blood real boy, gets in some good laughs. As the Donkey, Daniel Breaker has the daunting task of filling the shoes (or hooves) of the movie's comedy star Eddie Murphy (and the originally cast stage actor) and acquits himself quite well, giving quite a bit of wackiness and kick to his sidekick (to Shrek) character. Those of us who delight in wordplay will relish some of lyricist-bookwriter David Lindsay-Abaire's zingy and jokey gems. Composer Jeanine Tesori keeps the music on the bright, light side mostly, with the melodies for the tender side restrained, allowing them their own brand of understated power. With nods to various musical genres, including contemporary pop, always appropriate to character or defining character, the deft touch is quite right, even though some numbers feel played by the numbers or like cotton candy that melts in your mouth rather than sticking to your soul. Danny Troob's orchestrations have musical comedy flair and flourishes. Much is like musical theatre on vacation—a vacation from deep thinking or really being moved or anything groundbreaking or heartbreaking. But it's all very professional and energetic, with enough entertaining bits of business and playful, exaggeratedly sharp characterizations to register high enough on the laugh meter and toe-tapping quota with the production numbers. "I Know It's Today," is one of the most effective tracks; it tracks the show's heroine through three stages of life: child, teen and adult. Our Princess Fiona is played here by three actresses as we see her grow up before our very eyes (or ears, for the cast album, but the number is depicted in one of a several color photos in the packaging which also has a synopsis, full credits and all the lyrics and included bits of dialogue). The youngest starts the song: the refreshingly sugar-free delightful little pro and clear singer Leah Greenhaus gives way to Marissa O'Donnell deliciously humorous as the impatient teen version of the character. Flipping flippantly through a storybook ("Been-there-read-that"), she is spot-on as we see the girl growing up quickly. (Musical comedy art imitates musical comedy life—Marissa is the talented girl who "it seems like only yesterday" was playing the title role in the revival tour of Annie and heard on the 2008 Annie/Annie 2 double-CD set and her own solo album.) They morph into the show's able and breezy female lead, Sutton Foster, but all three sing together for the number's last section, with a strong girl power showstopping impact. Sutton then carries on and brings her considerable comic and musical skills to a few more numbers, making the trek through Shrek a jaunty and joyful journey.
Although Shrek's female star doesn't sing any Sondheim on her debut solo album, it reminds me of one of his songs: "I'm lovely, absolutely lovely./ Lovely is the one thing I can do." Undeniably, her persona here is as lovely as that character and song from ... Forum, it's not the only one thing she can do. A (not so) funny thing happened on the way to the performer's first solo album: she left her familiar and fun stage moxy at the stage door and apparently left her belt in the dressing room. Sure, there are nice and effective tracks here, but if you didn't know her theatre résumé and the sense of humor, feistiness and power she's shown in Thoroughly Modern Millie, Little Women, the Drowsy Chaperone and Shrek, you'd think she was mostly just a sweet, pretty voice. She does well by Jeff Blumenkrantz's evocative story-song "My Heart Was Set on You" and takes a pop classic on a gentle journey that feels right and romantic "Up on the Roof." Another successful track is "I'm Beginning to See the Light," which is infused with some adrenalin and spunk and a swell belted climax. That's all well and good—very good, in fact, but some of the others leave me underwhelmed, especially as one who has generally been a fan of her other work. It's surprising that her work as "herself" sans character and costume is so mild and "lite." Once I adjust to the reality of the limited scope shown here and its stronger moments and try not to just wish that Wish were less wishy-washy (and I suppose I will), I think the better tracks will shine more and I'll find some pleasures in some of the others. Sutton seems to be determined or directed to stay in a very youthful and girlish persona and not shift gears much. Not quite wearing white gloves and lace is she, but there is an almost post-teen Disney princess preciousness about a few tracks. She stays often in a mode and mood of winsome. The Rodgers & Hart standard "My Romance" is rewarding, not just wistful and endearingly sincere as ever, but given an added weight and reality check by intertwining it with the Maury Yeston song "Danglin'." The album ends weakly with an unwise choice to get cute and shrill, with "I'm On My Way"'s ending and then with a 58-second bonus track of the title song from Oklahoma!, perhaps as a giggle? In between, there are reassuring reminders among the 14 tracks that this a fine and capable and enjoyable singer who maybe is just thinking she needs to hold back and take a different approach in the recording studio when not playing a character—or maybe she simply doesn't want to be typecast as the gutsy or goofy gal and wants to show her tender, romantic side. Point taken. Sutton Foster fosters a cabaret career with solo nightclub appearances in Manhattan on April 6 and 20 at Feinstein's at Loews Regency, where she'll be singing numbers from this CD. For those who like their Broadway stars up close and intimate, your Wish can come true.
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SHREK: THE MUSICAL
SUTTON FOSTER
