Search - Paul Scott Goodman, Patrick Wilson, Jesse L. Martin :: Bright Lights Big City

Some Excellent Music on this Studio Cast Recording of the Of

Robert Lopez | California | 07/03/2005

(4 out of 5 stars)

""Based on the novel by Jay McInerney, Bright Lights, Big City concerns the life of young New Yorker Jamie (Patrick Wilson), who seems to have it all: good looks, a successful model wife, a job at a prestigious magazine and many friends. During one week, however, his life spins out of control and his search for his true self begins anew. The Off-Broadway production at New York Theatre Workshop was directed by Rent's Michael Grief. Composer Paul Scott Goodman was born and raised in Glasgow, Scotland. Bright Lights was the first major production of his work." - Playbill.com



Paul Scott Goodman's first work is an excellent attempt. I have to say that the ensemble numbers aren't as strong as the slower tempo numbers but all in all the cd is an excellent addition to any musical theatre collection.



*Patrick Wilson (Phantom of the Opera Movie, Full Monty, Oklahoma!) does well as Jamie and has a plethera of songs to sing throughout.

*Jesse L Marin is Tad, his best friend who knows where all the best parties are. Jesse's songs are all high energy and he does well, unfortunately the rock songs are the weakest in the score.

*Eden Espinosa (Brooklyn, Wicked) plays several different characters inlcuding a Druggie and the voice of the Coma Baby, which Jamie is obsessed over the headline in the newpaper. Eden's voice is very versatile, and although she has a few bits here and there it's nothing spectacular.

*Celia Keenan-Bolger (Spelling Bee) plays the voice of Mary O'Brien Mchann, a missing woman whose face is on an empty milk carton that Jamie obsesses over. Celia has a golden voice which is mesmorizing and perfect for this role. When you hear her sing "Please can you find me? Please don't go" it's simply heartwrenching.

*Sharon Leal plays Amanda, Jamie's wife who's left him. Sharon does well vocally, but her material is weak.

*Anne Marie Milazzo ("When You Believe" Stephen Schwartz Album) is phenomenal. Who is this woman? I first heard her gorgeous vocals belting "When You Believe" on the Stephen Schwartz Album, if you haven't heard it, pick it up, immediately! Milazzo plays the memory of Jamie's mom. The first real solid song in the show is "Happy Birthday Dalring" in which she takes us thru the years of Jamie growing up. "Are You Still Holding My Hand?" is a real tear jerker and Milazzo's golden vocals, a cross between Linda Eder and Barbra Streisand, sends shivers down your spine.

*Gavin Creel (La Cage, Millie, Fame) plays Michael, Jamie's younger brother. Creels tenor does well with his three songs, particularly in "Brother"

*Christine Ebersole (42nd St) plays Clara, Jamie's boss. Ebersole goes against type casting and does a sensational job.

*Enter Sherie Rene Scott (Dirty Rotten Scoundrels, Last Five Years, Aida, Debbie Does Dallas). Scott seems to get better as the years go by and she is the BEST thing on this cd. Anything she sings here turns to gold. A real hilight both lyrically and vocally is "Kindness". Although she only appears in 4 songs she steals the cd, with Milazzo in close second.



I have been listening to this cd over and over to get a better feel for the music. I still feel that the uptempo rock songs are the weakest link, while the slow tempo sad songs seem to capture the moment just brilliantly. You will not be disappointed with this cd, not with the music, and especially not with the amazing cast of talented singers."

A pop-rock musical with a great cast and a fresh approach

Steven Valenti | Cleveland, OH | 07/31/2005

(4 out of 5 stars)

"This studio recording of "Bright lights, Big City" is a revised version of the 1999 off-Broadway musical by composer-lyricist Paul Scott Goodman. While certainly not without flaws, it's an admirable attempt at a serious rock musical based on the famous 80's novel by Jay McInerney. The cast is impressive and includes Patrick Wilson as the self-destructing protagonist Jamie, along with Sherie Rene Scott, Jesse L. Martin, Eden Espinosa, and other notable or up-and-coming musical theater performers.



I like Goodman's overall approach for the musical, at least as presented on the album (which appears to be somewhat different from the original stage version). The focus is placed squarely on Jamie-- both his drinkin' and druggin' lifestyle, and his internal struggle against self-destruction. This means the other characters exist almost entirely from his point of view-- it's unusual for a musical, and it creates some interesting dynamics. The characters who represent his disconnected downward spiral-- his partying cohorts and ex-wife-- are depicted as appropriately shallow and one-dimensional, while those who can potentially redeem him-- his brother, a potential love interest, and his (deceased) mother-- are seen with much more humanity. The Jamie-centered approach also provides an opportunity for some neat drug-fueled hallucinations in the form of his constantly flowing memories, as well as a missing girl from a milk carton and the headline-grabbing "Coma Baby." The result is a musical that is more introspective than most, and displays some genuine understanding about the nature of drugs and addiction. While it's unfortunately not able to escape cliché entirely, especially towards the end, there is still a lot that rings true.



Goodman's pop-rock music is mainly very enjoyable; he does a good job evoking the 80's time period and successfully shifts between fast numbers and slower ballads. I have mixed feelings about the lyrics, though-- sometimes they are quite effective and clever, but at other times they can be jarringly silly (the worst moment for me: Jamie and some club-goers proclaiming with all sincerity, "I----I-----I----I WANNA HAVE SEX TONIGHT! COME ON!"). As much as I enjoyed this recording, it does feel a bit unpolished, especially the second half. The performers, though, are very good throughout and give the recording an extra degree of quality. Their presence, along with the mostly fresh musical approach, should make "Bright Lights, Big City" a popular album among fans of modern musicals.

"

Rocket Rock

Marty Kerr | Toronto, Ontario, Canada | 08/13/2005

(4 out of 5 stars)

"I didn't see the original show, which was compared to "Rent--not favourably. Judging from this recording, it's hard to see why. The whole concept is more original and adventurous (a kind of interior monologue in the form of a drug-induced phatasmagoria with bits of reality suddenly flashing through.) The music is better and the singers are first rate and don't sound as if they're strangling to death.



After the first two numbers which take off like a rocket, you're hooked. Because of the unusual nature of the musical, repeat listening makes you realise just how good it is. The hard-driving rock and explicit drug-and-sex lyrics authentically evoke the go-go eighties. They also have a very uncynical point to make about solipsism, self-indulgence and superficiality.



A superior cast is led by Patrick Wilson who seems to be able to sing anything: his flexible tenor can go into the stratosphere, soften to an anguished whisper, and belt out in true rock 'n roll style. There are some long, incredibly fast passage where he doesn't seem to take a breath at all. On top of that, he's a fine actor and gives a dramatic intensity to all his material.



The rest of the cast is of the same caliber, especially Gavin Creel as the brother and Anne Marie Milazzo as the mother. Her "Are you Still Holding My Hand," sung as the character is dying, must be one of the most moving moments in a contemporary musical.



There are a few rhymes that are wince-inducing, but I'm convinced this show will have a cult following, and the main numbers, such as the title song, should become classics."