A Chorus Line - The New Broadway Cast Recording (2006 Broadway R... Cover Art

A Chorus Line - The New Broadway Cast Recording (2006 Broadway Revival Cast) (CD)

By: Marvin Hamlisch, Edward Kleban, Charlotte d'Amboise, Michael Berresse

Current Price: $11.99
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1   FYE $11.99 New Buy
2   Supermart.com $12.72 New Buy
3   CD Universe $13.69 New Buy

Track Listing

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Amazon.com Album                  CD Universe Album
DISC 1 for A Chorus Line - The New Broadway Cast Recording (2006 Broadway Revival Cast) (CD) Album By Marvin Hamlisch Amazon.com iTunes CD Universe
1   Opening: I Hope I Get It (Album Version) Buy    
2   I Can Do That (Album Version) Buy Buy  
3   At The Ballet (Album Version) Buy Buy  
4   Sing! (Album Version) Buy Buy  
5   Montage, Part 1: Hello Twelve, Hello Thirteen, Hello Love (Album Version) Buy Buy  
6   Montage, Part 2: Nothing (Album Version) Buy Buy  
7   Montage, Part 3: Mother (Album Version) Buy Buy  
8   Montage, Part 4: Gimme The Ball (Album Version) Buy Buy  
9   Dance: Ten; Looks: Three (Album Version) Buy Buy  
10   The Music And The Mirror (Album Version) Buy Buy  
11   One Buy Buy  
12   What I Did For Love (Album Version) Buy Buy  

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Product Notes

In the fall of 2006, A Chorus Line came back on Broadway 16 years after its original run closed, and it felt as if it had never left. The new production, put together by alums from the first one, is a carbon copy of Michael Bennett's groundbreaking staging, and the cast recording follows suit. The good news is that Marvin Hamlisch's energetic, pop-inflected score sounds as great as ever; the bad news: well, you might quibble with the staging but when it comes to the CD, there isn't really any bad news. This time around, the songs are performed in the order in which they are performed live, and the recording includes more of the incidental music and the dialogue. Among the highlights are Natalie Cortez's fabulous "Nothing" (check out the Bacharachian trumpet-and-piano arrangements, which aren't all that surprising since co-orchestrator Jonathan Tunick had worked on Bacharach's sole musical, Promises, Promises) and Jessica Lee Goldyn's uproarious "Dance: Ten; Looks: Three." And then there's "One," which remains one of the most memorable songs in the musical-theater catalogue—-lucky for us, we get it twice since it's reprised at the end. --Elisabeth Vincentelli

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