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Performing Arts
In 1973, Rosanne Cash's father gave her a list of 100 songs, many from the Southern tradition, that he felt a young musician had to know. Always Been There tells the inside story of the album that, more than thirty-five years later, resulted from "the list."
Based on original interviews conducted in the studio, at home in New York City, and on tour in Europe, Always Been There documents a pivotal episode in Rosanne Cash's long and fascinating career. As she, along with producer and husband John Leventhal, painstakingly reconstructs what songs made "the list" and why, we gain an unmatched understanding of a longer musican continuium that includes the Carter Family and other fabled names of the Southern pantheon and their influence on her music and writing. We also see how Leventhal's talents as an arranger and musician pair with Rosanne's searching vocal performances to make these old songs new again.
Always Been There tracks Rosanne Cash's singular and storied career from her early commercial hits with albums like King's Record Shop through her controversial split with Nashville tradition on albums like the mercurial Interiors to the sublime Black Cadillac. It paints an unforgettable portrait of Rosanne confronting music-making in the aftermath of serious brain surgery, her lifelong search for her legacy, and her unique creative partnerships.
Anything Goes stages a grand revue of the musical from the 1700s through to the present day, narrated in Mordden's famously witty, scholarly, and conversational style. He places us in a bare rehearsal room as the cast of Oklahoma! changes history by psychoanalyzing the plot in the greatest of the musical's many Dream Ballets. And he gives us tickets for orchestra seats on opening night-raising the curtain on the pleasures of Victor Herbert's The Red Mill and the thrill of Porgy and Bess. Mordden examines the music, of course, but also more neglected elements. Dance was once considered as crucial as song; he follows it from the nineteenth century's zany hoofing to tap "combinations" of the 1920s, from the injection of ballet and modern dance in the 1930s and '40s to the innovations of Bob Fosse. He also explores the changing structure of musical comedy and operetta, and the evolution of the role of the star. Fred Stone, the avuncular Scarecrow in the Wizard of Oz, seldom varied his acting from part to part; but the versatile Ethel Merman turned the headlining role inside out in Gypsy, playing a character who was selfish, fierce, and destructive.
From "ballad opera" to burlesque, from Fiddler on the Roof to Rent, the history and lore of the musical unfolds here in a performance worthy of a standing ovation.
