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One might be forgiven for stumbling over the name of Adrift in Macao composer Peter Melnick — in the liner notes, he’s even quoted referring to himself as “Richard Rodgers‘ ‘other’ grandson,” an oblique reference to his famed cousin Adam Guettel. It’s unclear on the basis of the album whether this state of affairs will continue. While far from a major work (one could argue that all three of Guettel’s scores rank with the work of Sondheim — but let’s stop inciting a family feud, shall we?), the score to this noir pastiche is an old-fashioned, light, infectious piece that will play well in regional theatre.

The lyrics, on the other hand, are entirely modern–parodies of torch songs, songs with lyrics supposedly improvised on the spot, songs about themselves–in the manner that’s taken over Broadway in the last decade or so. Fortunately, slumming lyricist Christopher Durang has sufficient skill and talent to bring most of them off (“Rick’s Song” is a shaky mashup of “The Song That Goes Like This” and “The Diva’s Lament” from Spamalot, but “Pretty Moon Over Macao,” “In a Foreign City,” and “The Chase” all score).

Unfortunately, this still means it’s at best a matter of taste; one wonders whether the audience that wants to hear Melnick’s score is the same as the audience that wants to hear Durang’s lyrics. And when it comes to the weird “Asian” numbers for “Tempura” (Orville Mendoza), one wonders how many people want to hear any of it at all.

The cast is uniformly strong: Mendoza, who has the most floppo material, manages to sparkle with natural charm. Rachel deBenedet and Alan Campbell have the rare treat of playing (with gusto) romantic leads with better and funnier songs than their comic foils; still, Michele Ragusa and Will Swenson (the latter as “Rick Shaw”; ugh) acquit themselves well.

And whatever is lacking in individual numbers, all can be forgiven when the cast breaks into the charming title song or, better, the intoxicating “Ticky Ticky Tock” finale. In fact, if there’s anything that inspires confidence in the future of Melnick and Durang as a songwriting duo, it’s this simple, silly, pleasingly anachronistic sing-a-long for the company.

I admit it. Just like librettist Douglas Carter Beane writes in the liner notes of the newly-released Original Broadway Cast recording of Xanadu, when I attended the first preview in May, I was hoping to catch a flop of Carrie-like proportions. After all, the original film musical was a financial and artistic failure, even if it did produce a best-selling soundtrack. Trying to roller-skate on the Helen Hayes Theatre’s postage stamp-sized stage would surely be the least of the cast’s worries…

So imagine my surprise when the show turned out to be some of the most fun I’ve ever had at the theatre, and went on to open to the best reviews of any recent film-to-stage adaptation on Broadway. Douglas Carter Beane and his collaborators managed to leverage the camp value inherent in the piece along with the hit score to create a show that’s entertaining on its own terms (and not just “children’s theatre for 40-year-old gay men” as one of the oft-quoted lines contends).

Several months later, the cast recording has finally arrived in stores. I looked forward mainly to hearing Cheyenne Jackson‘s take on the lead role of struggling artist Sonny Malone, as he was a last-minute replacement for the injured James Carpinello. Jackson has a silky baritone and easily negotiates the pop score (and, from the look of the promotional photos, fills out his tank top and short shorts rather nicely).

But the real draw of this recording is the adorably perky Kerry Butler, who channels Olivia Newton-John as Clio, the Greek Muse, with the right balance of parody and reverence. Butler has turned up on countless demo recordings and in smaller parts, and it’s great to see her break out in a role she so obviously has so much fun playing.

Mary Testa and Jackie Hoffman, who chewed the scenery as Clio’s evil sisters on stage, manage to keep from going too over-the-top on the recording, showcasing their sass in one of the stage musical’s interpolated hits, “Evil Woman.” Woody Allen-favorite Tony Roberts may pale in comparison to the film’s Gene Kelly, but has a gruff charm all his own.

Providing music direction is the unlikely Eric Stern, mostly known for his work on arty Nonesuch recordings with singers like Audra McDonald and Dawn Upshaw. Stern, however, manages to create a pretty full sound with only 4 players and a few pit singers (including journeyman Annie Golden).

But is this recording going to replace your well-worn copy of the Xanadu soundtrack? Surprisingly, after re-listening to Olivia Newton-John et al, the original Broadway cast compares favorably, teeming with infectious energy.

Masterworks Broadway (the product of Sony/Columbia’s merger with RCA/BMG) has finally made good on a years-old promise by reissuing remastered versions of Into the Woods, Sunday in the Park with George, Merrily We Roll Along, and Sweeney Todd. While they may not be everything collectors might have hoped, the four comprise a worthy start to what could be an outstanding reissue program.
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