Hell’s Kitchen (Play)

“Hell’s Kitchen,” “Stereophonic” and others are up for top prizes at Sunday’s ceremony. Our critic takes stock of their cast albums, all available now.Cast albums are both keepsakes and fantasies, preserving a show for those who have seen it and implying it for those who have not. At their best, they are also stand-alone works of musical-theater art. Listening to the recordings of the eight shows nominated for Tony Awards in the best musical and best score categories — all of which are now available — I was impressed by how often and how variously they reached that standard. Below, in chronological order by opening date on Broadway, a guide to the latest batch of future treasures.‘Here Lies Love’The first of the season’s best score nominees, this sung-through biography of Imelda Marcos was the only one not to release a cast recording. That’s a shame, but die-hards can seek out the 2014 Off Broadway version or the 2010 concept album, with its whacka-whacka disco-beat ditties by David Byrne and Fatboy Slim. Remastered in 2023, and with a very different collection of songs from the Broadway show, the concept album is naturally less theatrical; with each track featuring a different singer in a totally distinctive style — Tori Amos, Florence Welch, Natalie Merchant, Sia — character development is impossible. Instead, it offers hypnotic dance-floor euphoria, as in Cyndi Lauper’s take on Imelda’s “Eleven Days” of courtship.“Eleven Days”“Here Lies Love,” featuring Cyndi Lauper, from the 2010 concept album (Nonesuch)‘Days of Wine and Roses’A story of husband-and-wife alcoholics on diverging paths toward recovery and disaster is bound to be harrowing, but Adam Guettel’s score carefully balances the inevitable lows with the sometimes wild highs. The cast album brilliantly captures that full-spectrum range, especially in the edge-of-danger singing by Kelli O’Hara and Brian D’Arcy James at their finest. Their quasi-operatic cries for relief and forgiveness effectively contrast (but do not contradict) the jazzy mania of songs like “Evanesce,” in which the snockered characters sound like xylophones and leap like dolphins, making you ache if not for drink then for these desperate drinkers.“Evanesce”“Days of Wine and Roses” (Nonesuch)‘Water for Elephants’Jessica Stone’s thrilling staging is a real eye-catcher in this circus-based musical at the Imperial Theater. But the cast album demonstrates how the songs, by PigPen Theater Co., a seven-man indie folk collective, can grab you by the ears. Avoiding the rut of some Americana scores, PigPen, along with its arrangers and orchestrators, offers a wide variety of sounds and formats that suit the milieu and the action: bravura showstoppers for the ringmaster, soaring anthems for the hero, haunting ballads for the woman caught between them. One of those ballads is “Easy,” a heartbreaker even if you have no idea that it’s sung to a dying horse.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More