Headline: Original cast albums cue in season

Abstract

Here are first thoughts on the cast recordings from six shows that will stop at the Civic Center this season: "Doctor Dolittle" (First Night Records; ****) has undergone significant changes for its transfer to the American stage, so there's only so much judging that can be done from the original London cast recording in 1998.

Jeffrey Bruner

Although the Broadway season at the Civic Center of Greater Des Moines is still a few weeks away, it's never too early to start sampling the songs you'll be hearing.

Here are first thoughts on the cast recordings from six shows that will stop at the Civic Center this season:

"Doctor Dolittle" (First Night Records; ****) has undergone significant changes for its transfer to the American stage, so there's only so much judging that can be done from the original London cast recording in 1998.

That said, the recording is an entertaining blend of traditional musical (think "My Fair Lady") and a postmodern political message about animal rights.

"Talk to the Animals" isn't the show-stopper that one would think, but there are plenty of other surprises, most notably "When I Look into Your Eyes."

"Cats" (Decca U.S.; ** 1/2) has an army of loyal fans, but I struggle to see what the fuss is about -and one of my three cats is helping me write this review.

"Memory," either the version sung by Elaine Paige or Betty Buckley, is the monster hit that emerged from Andrew Lloyd Webber's musical. It still moves me, but the same can't be said of the production's other songs.

Webber's heavily synthed orchestration wears thin after a while, as do the songs.

Before they became famous writing for Disney, Howard Ashman and Alan Menken wrote the deliciously dark "Little Shop of Horrors," (Decca U.S.; *** 1/2) which was an off-Broadway hit in the 1980s but only made it to the Great White Way as a revival a few years ago.

The idea of a do-wop/rock soundtrack to a B-movie horror story is far-fetched, but it works with a delightful campy quality. A klutzy helper in a floral shop named Seymour makes a Faustian bargain with one of the plants, and tragedy (and hilarity) ensue.

Many of the numbers come with a trio of 1960s-flavored back-up singers, generating such numbers as "Skid Row (Downtown)," which Petula Clark might have sung if she was a starving, depressed bum. (OK, maybe not.) The deep funky groove of both "Feed Me (Git it)" and "Suppertime" are pure delight, not to mention a wonderfully fun way to advance the musical's storyline.

A slyly subversive spoof of a Christian boy band, "Altar Boyz" (Sh-K-Boom Records; **** 1/2) is packed with tight harmonies and incredibly clever lyrics. Gary Adler and Michael Patrick Walker entertain believers and nonbelievers alike with a collection plate full of catchy hooks.

"We Are the Altar Boyz" is so good it would have a been a Top 10 hit if it hadn't had lyrics like "We know that God is where it's at . . . we think he's real phat." The songs are packed with lyrical gems like "Jesus Called Me on My Cell Phone" and "Girl You Make Me Wanna Wait."

The upbeat tracks -particularly the funny "Rhythm In Me" and "Everybody Fits" -are stronger than the crooner tracks, which I'm sure give 14-year-old girls a chance to scream during the show.

For those who have only seen Disney's animated film, the stage version of "The Lion King" (Disney; ****) is more culturally and musically sophisticated.

The grand scope can be grasped in the soundtrack right from the opening number, "Circle of Life." Power ballads like "Can You Feel the Love Tonight" are stripped down to make room for songs more central to the story to shine, like "They Live in You" and "Shadowland."

"Hakuna Matata" is probably the most popular song from the film. I'd argue it almost feels out of place in the far darker tone of the stage production.

"Hairspray" (Sony; *** 1/2) adapts John Waters' 1988 comedy about "pleasantly plump" teenager Tracy Turnblad's yearning to get a spot on a local television dance show in 1962 Baltimore.

Marc Shaiman's music loosens up gradually to become more fun with the teen rebellion anthem "Mama, I'm a Big Girl Now" and the hilarious "I Can Hear the Bells." There's a trio of big diva moments -Linda Hart in "(The Legend of) Miss Baltimore Crabs" and Mary Bond Davis in "Big, Blonde and Beautiful" and "I Know Where I've Been."

Marissa Jaret Winokur won a Tony Award for her lead performance, but her nasally delivery is an acquired taste. Then there's fellow Tony-winner Harvey Fierstein's gravely voice that's truly a love-or-hate affair. (Neither, of course, will be on the national tour when the show comes to the Civic Center.)

The lineup

This season's musicals at the Civic Center of Greater Des Moines: "Dr. Dolittle," Oct. 18-23; "Cats," Nov. 22-26; "Little Shop of Horrors," Dec. 13-18; "Altar Boyz," TBA; "The Lion King," March 3 to April 9, 2006; "Hairspray," April 25-30, 2006.