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Wird oft zusammen gekauft
Produktinformation
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Titelverzeichnis
| 1. Addams Family Theme | |||
| 2. Overture | |||
| 3. When You're An Addams | |||
| 4. Pulled | |||
| 5. Where Did We Go Wrong | |||
| 6. One Normal Night | |||
| 7. Morticia | |||
| 8. What If | |||
| 9. Full Disclosure | |||
| 10. Waiting | |||
| 11. Full Disclosure - Part 2 | |||
| 12. Just Around The Corner | |||
| 13. The Moon And Me | |||
| 14. Happy/Sad | |||
| 15. Crazier Than You | |||
| 16. Let's Not Talk About Anything Else But Love | |||
| 17. Let's Not Talk About Anything Else But Love (Reprise) | |||
| 18. In The Arms | |||
| 19. Live Before We Die | |||
| 20. Tango De Amor | |||
Alle 21 Titel anzeigen.
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Produktbeschreibungen
ADDAMS FAMILY / O.C.R. ADDAMS FAMILY / O.C.R.
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Format:Audio CD|Von Amazon bestätigter Kauf
Andrew Lippa really has a knack for melody - maybe things are not as thrilling here as in the best songs from "The Wild Party" but "When you're an Addams", "Pulled" and several other songs are very catchy.
One of my favorites is "Crazier than you", which has a nice context and is very easy on the ears in principle. But it is also a good example of why I do not think that Lippa is that good a theatrical author. The song starts with much energy in the verse and gets even more powerful in the refrain - but then Wednesday Addams sings "I'm crazier than you, that's just the overview" - hm, overview of what, of everything else that is wrong between her and her boyfriend? The line does not seem to make much sense. But on we go with him joining in on the second verse (they do sound rather quarrelsome instead of in love, but that might make sense in context), and then his refrain gets a weird key change for no apparent reason (other than maybe it being as crazy as the characters are?) Then there's a bridge, then we return to the refrain with actually really nice harmonies for them to sing - then one more key change, but that's what you expect from the big finish of your average Broadway number, so I don't think that is too much of an issue. All these points of criticism don't stop me from actually liking this song - but the lyrics sometimes feel a little first-drafty and the musical structure does not appear to have been given much thought either.
That is not to take away from the performers either. Krysta Rodrigues as Wednesday carries a good part of the score - and she does it well. She is matched by Wesley Taylor as Lucas, her significant other. Nathan Lane and Bebe Neuwirth are well-cast as Gomez and Morticia, particularly the latter brings with her the exact right persona (though I wouldn't mind a little less vibrato here and there). The stand-out, not to surprisingly, is Carolee Carmello. Again, her vibrato does detract a little but she turns her one big number, "Waiting", into a spectacular theatrical moment, selling it as if a first-rate theatrical author had given her material to really dive into. But afterwards Gomez says: "That's too dark even for us." And that's the truth. Who knows what William Finn, David Yazbek or maybe even Mel Brooks would have done with these characters.
But still, it's all bouncy and nice and much more enjoyable than it's problems suggest.
One of my favorites is "Crazier than you", which has a nice context and is very easy on the ears in principle. But it is also a good example of why I do not think that Lippa is that good a theatrical author. The song starts with much energy in the verse and gets even more powerful in the refrain - but then Wednesday Addams sings "I'm crazier than you, that's just the overview" - hm, overview of what, of everything else that is wrong between her and her boyfriend? The line does not seem to make much sense. But on we go with him joining in on the second verse (they do sound rather quarrelsome instead of in love, but that might make sense in context), and then his refrain gets a weird key change for no apparent reason (other than maybe it being as crazy as the characters are?) Then there's a bridge, then we return to the refrain with actually really nice harmonies for them to sing - then one more key change, but that's what you expect from the big finish of your average Broadway number, so I don't think that is too much of an issue. All these points of criticism don't stop me from actually liking this song - but the lyrics sometimes feel a little first-drafty and the musical structure does not appear to have been given much thought either.
That is not to take away from the performers either. Krysta Rodrigues as Wednesday carries a good part of the score - and she does it well. She is matched by Wesley Taylor as Lucas, her significant other. Nathan Lane and Bebe Neuwirth are well-cast as Gomez and Morticia, particularly the latter brings with her the exact right persona (though I wouldn't mind a little less vibrato here and there). The stand-out, not to surprisingly, is Carolee Carmello. Again, her vibrato does detract a little but she turns her one big number, "Waiting", into a spectacular theatrical moment, selling it as if a first-rate theatrical author had given her material to really dive into. But afterwards Gomez says: "That's too dark even for us." And that's the truth. Who knows what William Finn, David Yazbek or maybe even Mel Brooks would have done with these characters.
But still, it's all bouncy and nice and much more enjoyable than it's problems suggest.
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