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 This is a terrific performace of a great score Sep 08, 2008
I've had this recording for quite a while. I borrowed it, and just couldn't seem to give it back, so I bought one of my own.
The music is wonderful, and the performers really give it just the right touch throughout. What a great orchestra!
This comes with a 52-page booklet with lyrics, synopsis, historical information, and a few stills from the original production.
3 of 3 found the following review helpful:
A Sparkling Studio Recording of a 1920s Hit Sep 10, 2007
I recently finished reading (and panning) Denny Martin Flinn's history of popular musical theater. In it he comments repeatedly that studio recordings of Broadway musicals come up short. And that is certainly true in some instances (Bernstein's studio recording of 'West Side Story' leaps to mind) but of course there were no original cast recordings for musicals from the 20s. There is a 1950s studio recording of this George and Ira Gershwin musical but I've not heard it. But I've owned the present recording for years and it never fails to please me. In reaction to Flinn's sour attitude about studio recordings I pulled it out again today and must say I've been charmed all over again. Not only is the orchestra (the Orchestra of St. Luke's under the direction of Eric Stern [Isaac Stern's son, by the way]) terrific, as one would expect. The singers are simply marvelous. Leading the cast is that magnificent soprano, Dawn Upshaw, who seems to be able to sing just about anything, popular or classical. Her light, lyric voice and her pert vocal acting is just right for the part of Kay. And she is wonderfully partnered by Kurt Ollmann, no stranger to Broadway and the possessor of a beautiful light baritone voice which he knows how to use in the Broadway style. Surprise participants are the 'Queen of the Soaps', Susan Lucci, as Constance, and veteran Fritz Weaver as her father. And another is Alan Arkin as Shorty.
But of course the main reason to hear this CD is those songs -- my goodness, they don't write 'em like this any more -- like 'Do, Do, Do', 'Clap Yo' Hands', 'Dear Little Girl' 'Maybe', the jazzy 'Fidgety Feet', and 'Someone to Watch Over Me.' All the lyrics are printed in the CD booklet.
I can't imagine anyone being disappointed with this recording.
Scott Morrison
A-1 Apr 14, 2007
The best studio recording of a Gershwin show that I know of. Couldn't be better. Highly recommended.
0 of 2 found the following review helpful:
Classic Broadway, but not Great Gershwin. Fair Upshaw May 17, 2006
'Oh, Kay' written by the two Gershwin brothers may be more interesting as 'one of the other pieces done by George Gershwin' than as a great musical in its own right. Unlike that great American operatic classic, 'Porgy and Bess', 'Oh, Kay' is just an ordinary Broadway piece with one outstanding showstopper, 'Someone to Watch Over Me' and the average collection of Broadway music written to accomodate actors who actually can't sing very well, such as Adam Arkin and Fritz Weaver. The performances by leads Dawn Upshaw and Kurt Ollmann are good, but if you want something to add to your collection of Dawn Upshaw vocals, this selection may be disappointing, as she only really shines in her performance of the flagship song.
The booklet of notes is good and the overall package is attractive. If you are a collector of Broadway show music and you don't have this one, I strongly suggest you get it. It is so archetypical that the orchestral arrangements remind me of parodies of Broadway music done by Stan Freeberg and others.
Good, but not great. Value depends on where you stand on classic Broadway shows.
4 of 6 found the following review helpful:
 Oh, Kay is JUST O. K., With Me. Jun 07, 2005
This reconstruction of Oh, Kay! is a neat and workmanlike job. Miss Upshaw is in fine form, and the supporting cast is good, but the show perhaps looses some of its considerable period charm through the distinctly modern vocal and orchestral performances. One only needs to compare the performances on this disc to those waxed eighty years ago by Miss Lawrence, and a number of other period recordings, notably the Victor "Gems from OH, KAY!" to see the effects of overly slow tempi (for example, Do, Do, Do) and an utter lack of understanding of the type of syncopated music written by the Gershwins (Clap Yo' Hands was intended to be an uptempo production number, not a Minsterel Shout). Perhaps performance practice has changed so very much that an accurate reconstruction can no longer be attempted.
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