A Jones for Tom
Let it be made clear from the outset of this review that you can’t buy the “demo recording” of Tom Jones: The Musical for love or money — but you can listen to much of it on line, absolutely free. This is something you should definitely do post-haste, as the recording documents one of the finest musical theater scores of the past several years.
Based on the classic novel by Henry Fielding, Tom Jones has music by George Stiles, book and lyrics by Paul Leigh in collaboration with Daniel D. Brambilla and Vera Guerin. As if those credits weren’t enough, throw in another: “Based on a concept by John Doyle.” Happily, all of these cooks didn’t spoil the broth. On the contrary! Tom Jones is a total delight as experienced on stage in its current run under the aegis of the New York Musical Theatre Festival and as heard on this recording, which features the cast of a 2004 production at the North Shore Music Theater in Massachusetts, many of whom are repeating their roles at NYMF.
Why is the CD unavailable for purchase? Here’s the short version of the story: The recording was made on stage at North Shore during the show’s run there, in a special six-hour session with no audience present. Though it’s actually a full-fledged cast album, with 13 singing actors and an orchestra of 13 players, it’s billed as a “demo recording” for contractual purposes — which is why it can’t be sold. But, again, copious excerpts from it are accessible for your delectation if you go to www.stilesanddrewe.co.uk/tom_jones/ and click on “The Music.”
As David Finkle pointed out in his highly enthusiastic TheaterMania review of the NYMF production of Tom Jones, the show drags a bit during the book scenes of Act II — but, of course, this is not an issue on the recording. And the score is, in a word, fabulous. Stiles, who wrote the new songs heard in the London stage production of Mary Poppins and is best known in this country for the family-friendly musical Honk!, has managed here to skillfully ape the sound of 18th-century English ballads and dance figures while making sure that his music remains eminently pleasing and accessible to 21st-century audiences. Highlights include Tom’s character-establishing “I Can Be Better” and the achingly beautiful ballad “Fair Sophia,” among many others. As for the Leigh-Brambilla-Guerin lyrics, they are delightfully witty — no more so than in the Act I closer “Sir?”, a brilliantly funny and exciting ensemble number that’s chock full of ear-catching rhymes (“curse, sir” / “as you were, sir” / “if you prefer, sir” and so on.)
Whereas NYMF’s Tom Jones is the winning David Ayers, the recording stars David Burnham; he’s a little lightweight for the part and his Brit accent isn’t entirely convincing, but Burnham does display a lovely singing voice in “When I Wed,” “Distant as the Moon,” “Come What May,” and other great songs. Candy Buckley has a field day as Lady Bellaston at NYMF, but it’s Sara Gettelfinger who does a bang-up job with the incisive “Masks” on the CD. Among the performers in the NYMF production who played the same roles at North Shore and are therefore heard on the recording are the amazing Jeremy Webb as Tom’s creepy nemesis, Blifil; the bewitching Angela Gaylor as Sophia; the always terrific Stephen Bienskie and Michelle Ragusa as Mr. and Mrs. Fitzpatrick; and the veteran Tim Jerome as Squire Western.
Tom Jones has two more performances scheduled in the NYMF: Saturday, October 1 at 9pm and Sunday, October 2 at 7pm. Do get yourself over to the Theatre at St. Clement’s and see it — that is, if both shows aren’t totally sold out. Given the word of mouth on this marvelous musical, I wouldn’t be surprised if there’s not a ticket to be had. Miss it now and you may have to wait for the Broadway production, which will no doubt happen sooner rather than later. When it does, the producers will have their work cut out for them in coming up with an Original Broadway Cast album that’s superior to this superb “demo recording.”
