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Pista
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Artista/Compositor |
Duración
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1. | Queenie Was A Blonde | Toni Collette | 3:10 |
2. | Marie Is Tricky | Mandy Patinkin | 2:06 |
3. | Wild Party | Toni Collette | 4:34 |
4. | Dry | Marc Kudisch | 1:32 |
5. | Welcome To My Party | Toni Collette | 2:32 |
6. | Like Sally | Jane Summerhays | 1:46 |
7. | Breezin' Through Another Day | Marc Kudisch | 2:03 |
8. | Uptown | Nathan Lee Graham | 1:38 |
9. | Eddie & Mae | Norm Lewis | 2:43 |
10. | Gold & Goldberg | Adam Grupper | 1:16 |
11. | Moving Uptown | Eartha Kitt | 2:46 |
12. | Best Friend | Toni Collette | 1:50 |
13. | A Little Mmm | Nathan Lee Graham | 2:07 |
14. | Tabu / Taking Care Of The Ladies | Michael McElroy | 4:26 |
15. | Wouldn't It Be Nice? | Mandy Patinkin | 3:03 |
16. | Lowdown-Down | Toni Collette | 3:04 |
17. | Gin / Wild | Mandy Patinkin | 6:56 |
18. | Black Is A Moocher | Tonya Pinkins | 2:44 |
19. | People Like Us | Toni Collette | 4:22 |
20. | After Midnight Dies | Sally Murphy | 1:38 |
21. | Golden Boy | Norm Lewis | 2:24 |
22. | The Movin' Uptown Blues | Adam Grupper | 2:47 |
23. | The Lights Of Broadway | Brooke Sunny Moriber | 1:23 |
24. | More | Marc Kudisch | 1:43 |
25. | Love Ain't Nothin'/ Welcome To Her Party | Tonya Pinkins | 2:31 |
26. | How Many Women In The World? | Mandy Patinkin | 2:37 |
27. | When It Ends | Eartha Kitt | 2:43 |
28. | This Is What It Is | Toni Collette | 1:59 |
29. | Finale | Toni Collette | 3:34 |
| | | 77:57 |
Ever since he emerged in the 1990s as one of Broadway's brightest hopes, the young and prolific composer-lyricist Michael John LaChiusa has been charged with the undeniably Sisyphean task of revitalizing the moribund musical. Along with such Tony-nominated efforts as 1999's Marie Christine--his Americanized retelling of the Medea tragedy--LaChiusa has managed to galvanize the genre with The Wild Party. Curiously enough, Joseph Moncure March's once-banned narrative poem of Prohibition-era decadence is the basis for two vastly different musicals produced within the same season (the other being Andrew Lippa's off-Broadway show at Manhattan Theatre Club). LaChiusa's work, which was produced by the Public Theatre's visionary director George C. Wolfe (who also collaborated on the book), kick-starts the new century with a manic, many-leveled, viciously satirical portrait--both brilliantly period and postmodern--of jazz-era alienation, sketching its 'sexually ambitious' and 'ambi-sextrous' promenade of characters with bold, flinty strokes. In addition to the 1928 poem, it seems equally inspired by The Threepenny Opera, Stephen Sondheim's dark humors, even Ann Douglas's cultural history, Terrible Honesty: Mongrel Manhattan in the 1920s. LaChiusa depicts the party-turned-nightmare trajectory of the story through complex, polystylistic counterpoint, as well as such searingly straightforward numbers as 'After Midnight Dies'; even the orchestrations (by Bruce Coughlin) are fantastically detailed and allusive. Mandy Patinkin is made to draw on his full repertory of shticks and gives a wildly over-the-top characterization of the vaudeville clown Burrs, while Toni Collette (an Oscar nominee for The Sixth Sense), playing his unhappy lover Queenie who throws this mother of all parties, plays against him with toxic, combustible energy. For all the star turns here (including some economical but superbly effective cameos by Eartha Kitt), it's the unflappable ensemble that keeps this party going till the bitter end.