David Patrick Stearns Quote about the CD
In this world of post-modern cynicism, how often do you hear a new song and
think it's a masterpiece? That happens on Audra McDonald's new disc, not
once but four times. The rest of it is pretty fine, too. And on repeated
listenings, it all gets even better.
Masterpiece No. 4 is Ricky Ian Gordon's A Lullaby,
in which the words are meant to prepare a child for the complexities and
sorrows of adulthood. The music's sweet and sour harmonies unfold in a huge
crescendo, expressing those ideas poetically as only music can. Gordon's
style is more mellifluous than the others, his music is perhaps the most
subtle and reveals the most secrets upon repeated hearings."
David Patrick Stearns USA Today Friday, November 20, 1998

An Epic Album for that Epic Voice
Bold, Gutsy and Daring! These are just a few of the adjectives that come to mind when finishing a full listen of Way Back to Paradise, Audra McDonald's debut solo CD. We knew she was so talented at interpreting a song as well as telling a story, but I didn't expect this CD. I expected an album's length of standards as most Musical Theatre chanteuses opt for with a debut solo album. Now this is not an easy listen. It definitely takes some work, but the rewards are copious. There are moments that scream of epic grandeur (A Lullaby, Mistress of the Senator, Tom) and others that are so tender (Baby Moon), it makes one wonder if these songs were originally written with her in mind because the originals pale in comparison.

When the first strains of "Dream Variations" first gave way to my ear, I knew this wasn't a standard debut solo. It was different and interesting. I almost didn't like it, but something kept me listening. Her voice was sublime and the orchestrations awkwardly gorgeous. A couple tracks later and "Come to Jesus" demonstrated McDonald's power of telling a story. Adam Guettel (who guest's on this track) wrote this song for a wonderful show entitled "Myths and Hymns." This is by far one of the highlights of that show in which Guettel solidified himself as a worthy contender of Sondheim. He is the new Sondheim, and possibly even better. When McDonald sings "There's a vintage painting of jello on the wall / I know you'd laugh if you were here, in spite of everything" her tone is so casual that is shows the juxtaposition of the song's struggle with abortion (not so casual). Wait for this song to build and it will warrant repeat listenings. While "You Don't Know This Man" will forever belong to Carolee Carmelo in the OBC of Parade, "Tom" blew my mind. It starts off with a beautiful tune and builds (as do most the best works of Michael John LaChiusa) to a climax with "And we kiss, and the angels sigh, we kiss..." It is utterly beautiful and grandiose, the way opera fills you with the love for drama. It is arresting!

She moves forward into another Adam Guettel song, apparently not written for a show: "Baby Moon." Just beautiful. I can listen to this on repeat for days on end. The tender moments here are so well executed that when the music swells with McDonald vocalizing to epic highs, it still feels tender like the lullaby it is. It's not often we get to hear a unique lullaby like this one. Take this one to heart. She soon follows this with a contemporary musical theatre standard by Jason Robert Brown, "Stars and the Moon." It is a song about waiting for what you want, and never compromising. The twist here is that in never compromising, as well as never knowing exactly what you want, you lose something; maybe not the stars, but definitely the moon. McDonald sings this almost plaintively, passively, in fact and yet, in that approach the song, for the first time, really comes alive. Brown is also to thank for his genius effort of setting the music with the lyrics. The last lines are the best in the song and they require the least change in melody, but with every time that McDonald sings the repetetive melody, she's telling us something different each time.

She continues to "Mistress of the Senator," and this (again) has a catchy, fun melody and is easily a mini-musical unto itself. LaChiusa's music and lyrics are wondrous and playful, and it's only near the end of the song that we notice how desperate and in love this woman is. She's in love with being the perfect woman for the perfect (or maybe not so perfect) man. The desperation in McDonald's voice rings out beautifully in the epic portion of the song when the full orchetra joins center stage with McDonald amidst it giving us possibly the best vocals on this album. It is jaw-dropping and makes the original version on "Hello Again" sound tinny and broken, which was the point in the show, but nevertheless, I prefer it here!

She concludes the album with two Ricky Ian Gordon songs that defy anything I thought of musical theatre becoming pedantic and repetitive. "A Lullaby" especially makes use of the most haunting melody and incredibly epic tones, whereas "Daybreak in Alabama," a smaller epic, show's every color of McDonald's operetic nuances.

With the many different song writers on this album, one would think it difficult to keep a common thread throughout, but Mcdonald (even with different orchestrators for each track- all of them doing brilliant work) finds a way to keep everything together making this album flow easily from song to song. The orchestrations on here are worth the price alone. They rival the best of Jonathan Tunick. This is THE album to buy of all musical theatre albums if you're looking for something different. I've had it for a couple years now, and I still listen to it at least once a week.

I love this album
I remember when Ms.McDonald won her first Tony award. Little did I know what a talent she has. In a bold and striking move, her first album is comprised of songs by little-known composers. Doing so lets us hear the next generation of Broadway composers, and lets Ms.McDonald interpret songs few of us have heard. She reminds me of Streisand....powerful voice that is original and stunning.

When Lord, when will Audra McDonald make her foray into opera?
She could sing the FBI's Ten Most Wanted List and I'd pay full price.

Excellent and Moody
Audra McDonald has won four Tony Awards, and this album will let you know why. She has a splendid, full-bodied voice, perfect for interpreting layered and textured music. For this album, she has chosen songs mostly by two of the best composers currently working: Michael John LaChiusa and Jason Robert Brown. She does both of them justice.

The title track is from LaChiusa's "Marie Christine", a retelling of Medea set in turn of the century New Orleans and Chicago. Ms. McDonald originated the role on Broadway, and sings a rendition on this album that is faithful to the version on the OBC album. A little too faithful, some who are looking for spicy shake-ups, but it's all right with me!

She sings two songs that, to me, are forever owned by Carolee Carmello: "You Don't Know This Man" from "Parade" and "Tom" from "Hello Again". She does them very well, but cannot make you forget Carolee.

I liked her "Stars and the Moon", but I prefer Jessica Molaskey on the "Songs for a New World" OBC.

The standout track on this CD is "Story of a Dark Girl", where Ms. McDonald brings the house down with her considerable power. It is a magic track.

A perfect companion piece for this album is "Blue Like That", the solo debut of another Broadway superstar, Melissa Errico. They work lovely together when they are played back to back.