Journey So Far

The delightful Lea Salonga burst into musical theater history as the young lead of Miss Saigon (the much-anticipated sophomoric attempt by the Les Mis writers) and then cemented her vocal imprint on kids of all ages in Disney's Aladdin singing A Whole New World, and later a jucier role as Mulan. This CD, My Journey So Far, is the 'cast album' of her semi-biographical cabaret act. And what a delight it is.

I won't compare this to her other albums because the purpose of this album is different. She recorded this live at the Carlyle in NYC in front of her cabaret audience, interacting with them and the band (who take turns at supporting her Jasmine in the above-mentioned Disney song). She gets to play storyteller with her own history, like a good cabaret act, punching up moments with appropriate songs. Her take on Something's Coming comes with the memory of the thrill of moving to London after succeeding in the Miss Saigon audition. She dedicates to her young daughter the sweetest rendition of "Your Song" ever, tied with Someone's Waiting For You (from Disney's The Rescuers).

She opens the concert with a Filippino thank-you to music, a song this listener certainly couldn't translate without the liner notes, but, as with my favorite other-language-singer Cecilia Bartoli, the emotional intent comes through without a doubt.

After her welcome and introduction in her native tongue, she charmingly asks, "Did you REALLY think I was going to do the entire show in Filippino?" That teasing wit stays throughout the concert album: her story of her first audition as a child, instead of a monologue reciting the Girl Scout Pledge; imitations of her mother and the French authors of Les Mis/Miss Saigon. The very funny song of devoted love (sung after introducing her husband) There's Nothing I Wouldn't Do For You. I wish I could have been at the cabaret to see her body language punctuate the songs, but this CD is a good second.

This cabaret setting has the intimacy of hanging out with Salonga, but the professionalism of a concert hall. Her rendition of On My Own, which she also performed in the 10th Anniversary Les Miserables concert, is still wonderful with her small but lush combo accompaniment. Musical theater buffs like me will appreciate "Too Much for One Heart," a song later replaced in Miss Saigon by I Still Believe (I think - she doesn't clarify but it sounds like that moment of the show). The lovely Gershwin ballad Someone To Watch Over Me gets an understated jazz setting with solo guitar and Salonga's pure voice; to a non-jazz listener it seems to get lost at one point but pulls together for a satisfying end.

The album isn't 100% perfect - I felt like I was left out of the joke with Waray Waray, and the understated jazz setting for Someone To Watch Over Me - just Salonga with jazz guitar - seemed to get lost at one point before pulling together for a mostly satisfying end. The narrative of Salonga's life also seemed to get lost, or at least give no clue as to where the 'Journey So Far' is headed. But those are generally quibbles.

Like "Leap of Faith" with Faith Prince, "The Journey So Far" is a lovely hour or so of getting to know an accomplished musical theater actress.

I saw Lea in MISS SAIGON. Brilliant performance. Her voice is one of the finest I've ever heard. Even live, she sounds impeccable. This is the sign of a true, God-given talent. No auto tune or other technical, over-produced manipulations needed. She is phenomenal.

May her journey continue as her story goes on... and on.

In The Journey So Far, Lea Salonga has created a three-sided view of herself and her talents: Her Philippine background and culture, her musical theatre life, and her extraordinary singing abilities. The latter carries the listener above and beyond the other two, sharing a lyrical range and remarkable clarity that few performers achieve. She has taken the Broadway versions of songs and transformed them into music that shows her absolute control of her voice, and avoids the shouting style that has characterized many singing styles in musicals during the past twenty-five years. "Two Much for One Heart," a beautiful, heart-wrenching and personal song not used in Miss Saigon, is one such example; it could easily have been a belting song , emphasizing the final measures or two while reducing all that preceded them. Instead Ms. Salonga finds a balance among each phrase and line so that the entire song has impact, a singing technique that once graced musical theatre but is, now, sorely lacking.

One of the most surprising and moving selections is the mix of "Your Song" and "Someone's Waiting for You," which speaks of her love for her daughter; this is not Broadway music, but, instead, a personal and, at moments, heart wrenching song that is emotionally rich and beautifully performed.

The other two elements of the program do not often work for a mass audience who may not be familiar with Ms. Salonga's music. While her being born and raised in the Philippines is interesting, Miss Salonga is often preaching to the congregation; the audience clearly knows about her and her background. This raises two interesting points: Is Ms. Salonga a Filipina who happens to have had considerable success on Broadway or is she a successful Broadway and musical singer who happens to be a Filipina? In either case, too much time is spent dealing with her background and not enough time showcasing her voice and music. Does the CD need to have both "Salamat Salamat Musika" and "Waray Waray" included, when the first would not only share music of the Philippines but also serves as a heartfelt Thank You?

The third element, her musical theatre life, is also explored in considerable detail; again, this is preaching to the congregation. While it is interesting that her first appearance in a major musical was that of Annie in the eponymous show, in the Philippines, she might have limited the other anecdotes about her other roles. The listener wants to hear her sing.

Of course the Cafe Carlyle is a warm, comfortable setting, encouraging the performer and the audience to become almost family. We become close friends, laughing with Ms. Salonga and enjoying the intimacy as she reveals special moments in her life. That can become a concern with such "café" recordings: The music is lost in the familiar banter of almost sitting in a living room and listening to the wonderful experiences of a truly talented woman.

Should this CD have been made and released? Absolutely. Yes. It is one more way for the world to hear, appreciate and love the music of Lea Salonga. Should all of the anecdotal information have been included: Probably not as much. The personal life may be important to friends and family and Ms. Salonga; to those unfamiliar with her life, all of that is second to the uniqueness of her God-given artistic talents.

The musical accompaniment provided by Larry Yurman and his musicians is absolute perfection for the Carlyle setting: Supportive without being intrusive, talented with a skilful blending of the members' abilities, and familiar as though the listener has known them forever. That is something that many bands never achieve in such settings.

When the next edition of Ms. Salonga's journey appears, she and the script writer, Diana Basmajian, should rethink the thread of the program and focus on what the audience expects from Ms. Salonga: The purity of sound that she creates and the lyrical escapes she offers through her extraordinary talents.

For anyone who loves the music of Lea Salonga, this CD is an absolute "must" purchase. Because it is recorded "live," it wonderfully displays the variety, depth, and musical perfection of Ms. Salonga's voice and her considerable repertoire....and the sometimes childlike innocence, then adult sophistication, that underscore both the Café Carlyle experience and her life. Her life has, indeed, been an amazing journey so far.