Compilation producer Lynne Frost cast back into the archives of Columbia Records to construct this collection of recordings by female Broadway stars, ranging from Helen Morgan's 1932 performance of "Can't Help Lovin' Dat Man" from a revival of the 1927 musical Show Boat to Andrea McArdle's "Tomorrow" from 1977's Annie . The Great White Way's most popular women of the period are present, including Ethel Merman, Mary Martin, Julie Andrews, Gwen Verdon, Barbara Cook, and Angela Lansbury, and they sing some of the best ...
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Compilation producer Lynne Frost cast back into the archives of Columbia Records to construct this collection of recordings by female Broadway stars, ranging from Helen Morgan's 1932 performance of "Can't Help Lovin' Dat Man" from a revival of the 1927 musical Show Boat to Andrea McArdle's "Tomorrow" from 1977's Annie . The Great White Way's most popular women of the period are present, including Ethel Merman, Mary Martin, Julie Andrews, Gwen Verdon, Barbara Cook, and Angela Lansbury, and they sing some of the best-remembered songs of the American musical theater. The breadth of those songs is apparent in the earliest ones and the latest ones. The ultimate torch song, "Can't Help Lovin' Dat Man," is preceded by another 1930s recording (originally issued on the Brunswick label), Martin's sex-kitten rendition of Cole Porter's suggestive "My Heart Belongs to Daddy," while, in the 1970s, the moods are reversed, with Elaine Stritch's searing interpretation of the cynical, embittered "The Ladies Who Lunch" from Stephen Sondheim's Company followed by the sunny, simple-minded, cartoon-character song "Tomorrow." The album represents only a slice of the history of musical theater, but it's still a representative sampling. ~ William Ruhlmann, Rovi
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