[DavidB]

I saw the superb revival of Fiddler at The Savoy on Friday and gave it 4 stars in my WoS review. Having now listened to the CD of the last Broadway version (with Alfred Molina) I think I should now revise that to a 5-star rating. I cannot believe that teh Brodway version features the entire cast using American accents - it sounds like Fiddler in Oklahoma. In contrast the show at the Savoy does not downplay the "ethnic" content and although some of the accents are a bit impenetrable it considerably adds to the realism of the show. The CD will now be going back to Dress Circle (who recommended it), but it made me wonder if there are any other versions of great shows which should be avoided.

[Orchestrator]

I saw the superb revival of Fiddler at The Savoy on Friday and gave it 4 stars in my WoS review. Having now listened to the CD of the last Broadway version (with Alfred Molina) I think I should now revise that to a 5-star rating. I cannot believe that teh Brodway version features the entire cast using American accents - it sounds like Fiddler in Oklahoma. In contrast the show at the Savoy does not downplay the "ethnic" content and although some of the accents are a bit impenetrable it considerably adds to the realism of the show. The CD will now be going back to Dress Circle (who recommended it), but it made me wonder if there are any other versions of great shows which should be avoided.

Apologies if I'm missing your point.

I wouldn't get too hung up on accents for Fiddler. I mean, the Jews in the stetl would have spoken Yiddish and a bit of Russian, and I suppose vice versa for the Russians and none of them would have ever heard their language spoken with either a Brit or US accent. And Yiddish has had much more impact on American than on British English.

Hal Prince, who I believe directed the original production, always said that Fiddler wasn't a Jewish story, it was a family story, in other words you could believe the story whatever the ethnicity.

[Tintin]

I imagine the Broadway revival with Alfred Molina probably sounded quite normal to an American audience, whereas the new British one, which I am looking forward to seeing, might seem strange to them. And I assume that the original version with Zero Mostel must have had all American accents with a Yiddish slant.

I once read that when the show was staged in China, the audience thought it was a Chinese story, which just goes to show how universal the subject matter is.

But speaking of bad versions on CD, today Elaine Paige played Being Alive from the latest Broadway production of Company, and it seemed very poor in comparison to the original versions. I can't say I was too keen on the Donmar one either.

Years ago I bought the LP of the revival of The Sound Of Music with Petula Clark, who, much to my irritation, added her own brand of pop vibrato to every song. This was one of the worst show recordings I have ever heard. I played it once and then gave it to the local charity shop.

I also bought the first complete recording of South Pacific, only to find the leading actress Paige O'Hara had the most awful little girlie squeaky voice that made me long to hear Mary Martin again.

Similarly the film version of Gypsy, which had the voice of Lisa Kirk dubbing for Rosalind Russell. It seemed a very poor substitute for Ethel Merman.

[Felix]

I personally really like the Revival Broadway CD, I think the singing was SUPERB! Though Randy Graff was abit tame as the wife (soz... just forgotten the character name). I heard the London cast and did not like it as much... I guess it only depends on which version you listen to first really!

[Boob]

I also really like the Broadway revival production CD of Fiddler. Laura Michelle Kelly's "Far From The Home I Love" is hauntingly beautiful. I do find the accents grate on my English sensibility, but that's just me. I find the same with the two Broadway recordings of Into the Woods.

I also really really like the current Broadway revival CD of Company. I would go as far as to say I think it's the best and most timeless recording of the show to date. The orchestrations and performances are sensational. And the way Raul Esparza goes slightly hoarse at the end of singing the final "alive" is incredibly moving.

South Pacific has had some MIGHTILY dodgy recordings. I would avoid both the TV film recording with Glenn Close (but no cigar) and Harry C. Jnr and the absolutely dire recent concert recording with Reba McIntire and Brian Stokes Mitchell. Unlistenable.

[Lynette]

I've got a recording of the National Theatre Guys and Dolls with Ian Charleson. It breaks my heart every time I listen to it because he was such a super actor and played this part so well. It has Julia McKenzie too and is a really good reminder of a brilliant production. Instant cure for the grumps.

[Alexandra]

I've got a recording of the National Theatre Guys and Dolls with Ian Charleson. It breaks my heart every time I listen to it because he was such a super actor and played this part so well. It has Julia McKenzie too and is a really good reminder of a brilliant production. Instant cure for the grumps.

Me too, Lynette. I was doing a student job there during that time and he was such fun to have around the place.