Parade Brent

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The big winners at the 1999 Tony Awards were revivals or old dance numbers recycled into new shows. Yet earning the most nominations, nine (and taking home two awards, for book and original score), was an honest-to-goodness new American musical by a young American composer-lyricist, Jason Robert Brown (who was 28 when the show premiered at Lincoln Center in December 1998 and was best known for his song cycle Songs for a New World). In addition, the subject matter is serious and dark, based on the true story of Leo Frank, a New York-born Jew living in Atlanta who was falsely accused of raping and murdering a young girl, and not surprisingly, the run was limited to 84 performances. The original cast recording survives, however, and from the stirring opening anthem, "The Old Red Hills of Home," Brown's score is full of riches, mixing period American styles with strong melodies, intricate counterpoint, selective dissonances, and natural lyrics that give their characters true, expressive voices. Leading the strong ensemble cast are Tony nominees Brent Carver and Carolee Carmello as the persecuted Leo and his wife, Lucille, who had been drifting apart before the wrenching events pulled them back together. They express their relationship in some of the show's best songs ("Leo at Work/What Am I Waiting For," "You Don't Know This Man," "All the Wasted Time"). Masterfully evoking scene and character through his beautiful, bouncy, or harrowing music, Brown depicts youthful abandon ("The Picture Show"), the city's hysteria, the tender memories of the girl's mourners ("It Don't Make Sense"), and the murder trial, including its fantasy scenes of false testimony. Parade is a powerful work that will long linger in your memory, and it's one of the most important musical theater releases of 1999. --David Horiuchi

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Turner Classic Movies' Greatest Classic Films Collection: Busby Berkeley collects four movies on two double-sided discs, with the bonus features that appeared on the single-disc versions of the movies. This set celebrates the work of one of the most visually inventive director-choreographers in the history of film. The centerpiece is of course 42nd Street (1933). This is the quintessential backstage musical in which young Peggy Sawyer (Ruby Keeler) goes from wide-eyed chorus girl to leading lady, urged by Warner Baxter, "You're going out there a youngster, but you've got to come back a star!" A cast that also includes Dick Powell and Ginger Rogers (when she was an RKO contract player and before she teamed up with Fred Astaire) performs "Shuffle Off to Buffalo, " "You're Getting to Be a Habit with Me," and the title tune, in which Keeler tap-dances on a black surface that turns out to be the roof of a car. Berkeley's numbers are known for their kaleidoscopic patterns, their stark black-and-white contrast, and their sheer sense of spectacle. But more than anything, they're known for their celebration of women. By the dozens, they dance, play pianos, frolic in waterfalls, and, in some of the most overtly sexual numbers, stand spread-eagled in a line as the camera passes through their legs. In many ways, the title song from Dames sums it up best: "What do you go for / to see a show for? / Tell the truth, you go to see those beautiful dames." While Berkeley choreographed and directed the musical sequences in these films, the plot sections were generally directed by others such as Lloyd Bacon. Keeler and Powell were the most frequent headliners, supported by character players such as Joan Blondell, Guy Kibbee, and Ned Sparks, and most of the songs were contributed by Harry Warren and Al Dubin. The stories aren't much, usually revolving around the putting-together of a musical show as well as the lives and loves of chorus girls. The term "gold diggers," which is the source of the title of another of the films included in this set, refers unflatteringly to chorus girls in search of wealthy husbands. Gold Diggers of 1937 features Powell singing "With Plenty of Money and You" to Blondell and a big set-piece of "All's Fair in Love and war." Dames (1934) has the aforementioned title tune as well as "I Only Have Eyes for You" (with Powell singing to dozens of Keeler faces). Footlight Parade changes things up a bit by starring James Cagney as a producer desperately cranking out musical numbers. Keeler and Powell emerge from their bit-character roles to headline two of the big productions stacked together at the end, while Cagney replaces Powell in the third, showing off the vaudeville hoofing skills he would use later in 1942's Yankee Doodle Dandy. DVD supplements include new and old featurettes and vintage cartoons and shorts. --David Horiuchi

Two-disc set includes "42nd Street," "Footlight Parade," "Dames," and "Gold Diggers of 1937."

The Busby Berkeley Collection celebrates the work of one of the most visually inventive director-choreographers in the history of film. The centerpiece is of course 42nd Street (1933). This is the quintessential backstage musical in which young Peggy Sawyer (Ruby Keeler) goes from wide-eyed chorus girl to leading lady, urged by Warner Baxter, "You're going out there a youngster, but you've got to come back a star!" A cast that also includes Dick Powell and Ginger Rogers (when she was an RKO contract player and before she teamed up with Fred Astaire) performs "Shuffle Off to Buffalo, " "You're Getting to Be a Habit with Me," and the title tune, in which Keeler tap-dances on a black surface that turns out to be the roof of a car. Berkeley's numbers are known for their kaleidoscopic patterns, their stark black-and-white contrast, and their sheer sense of spectacle. But more than anything, they're known for their celebration of women. By the dozens, they dance, play pianos, frolic in waterfalls, and, in some of the most overtly sexual numbers, stand spread-eagled in a line as the camera passes through their legs. In many ways, the title song from Dames sums it up best: "What do you go for / to see a show for? / Tell the truth, you go to see those beautiful dames." While Berkeley choreographed and directed the musical sequences in these films, the plot sections were generally directed by others such as Lloyd Bacon. Keeler and Powell were the most frequent headliners, supported by character players such as Joan Blondell, Guy Kibbee, and Ned Sparks, and most of the songs were contributed by Harry Warren and Al Dubin. The stories aren't much, usually revolving around the putting-together of a musical show as well as the lives and loves of chorus girls. The term "gold diggers," which is the source of the title of two of the films included in this set, refers unflatteringly to chorus girls in search of wealthy husbands. Gold Diggers of 1933 opens with a justly famous shot of Ginger Rogers wearing an outfit of coins and singing "We're in the Money" first in English then in pig Latin. Gold Diggers of 1935 is capped by "The Lullaby of Broadway," a 14-minute story-within-a-story that seems one of the inspirations for Singin' in the Rain's "Broadway Melody." Dames (1934) has the aforementioned title tune as well as "I Only Have Eyes for You" (with Powell singing to dozens of Keeler faces). Footlight Parade changes things up a bit by starring James Cagney as a producer desperately cranking out musical numbers. Keeler and Powell emerge from their bit-character roles to headline two of the big productions stacked together at the end, while Cagney replaces Powell in the third, showing off the vaudeville hoofing skills he would use later in 1942's Yankee Doodle Dandy. DVD supplements are generous. The sixth disc is the 163-minute Busby Berkely Disc, a former laserdisc program that collects just the musical numbers from nine films without the plot filler. Most of the numbers are already included in the films in this collection, but there are also one number each from Fashions of 1934, Wonder Bar, In Caliente, and Gold Diggers of 1937. Also on the discs are new and old featurettes (one tracks the development of 42nd Street from book to screen to stage), and vintage cartoons and shorts (one promotional short has Berkeley on-screen talking up Dames). Picture quality is about the same as on the Astaire and Rogers Collection, Vol. 1: good for the age of the material, but with noticeable fuzz and print damage. --David Horiuchi

The choreographer/filmmaker whose innovative set designs and kaleidoscopic camerawork defined 1930s movie musicals is saluted with a six-disc boxed set of his most memorable works. Dancers wearing giant coins and hoop-skirted musicians with neon violins are part of the fun in "Gold Diggers of 1933" (1933), starring Dick Powell, Ruby Keeler and Ginger Rogers. Powell and Keeler return to team with James Cagney, who plays a Broadway showman creating musical shorts for the movies, in "Footlight Parade" (1933). "Dames" (1934), packed with feuding relatives and leggy chorines, stars Powell, Keeler, Joan Blondell, and Hugh Herbert; and resort owner Adolphe Menjou lets desk clerk Powell put on a show to save the hotel in "Gold Diggers of 1935" (1935), with Gloria Stuart and Glenda Farrell. Also includes "42nd Street" and a tribute disc packed with documentaries and other bonus features. 8 hrs. total. Standard; Soundtrack: English Dolby Digital mono; featurettes; bonus shorts; theatrical trailers; more.

Ten-disc boxed set includes "42nd Street," "Gold Diggers of 1933," "Footlight Parade," "Dames," "Gold Diggers of 1935," "Gold Diggers of 1937," "Varsity Show," "Hollywood Hotel," "Gold Diggers in Paris," and "The Busby Berkeley Disc," a toe-tapping compilation of 21 of the choreographer/filmmaker's greatest dance numbers.

Examines the history and development of the festival called Junkanoo, held each Christmas in the Bahamas. This survey aims to give the reader an insight into the social, political, economic and cultural development of the nation.

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