BWW CD Reviews: Ghostlight Records' THE FORTRESS OF SOLITUDE (Original Cast Recording) is Accessible and Artful

The sounds of the seventies are alive and well in musical theatre. With throwback projects turning the idols of the era into jukebox fodder, it is sublimely refreshing to hear artists like Michael Friedman craft an original score that mixes in the sounds of soul, funk, rap, and even some punk rock into a cohesive and catchy theatrical piece. Taking lessons he has learned from previous outings, BLOODY BLOODY ANDREW JACKSON and LOVE'S LABOUR'S LOST, Michael Freidman's compositions for THE FORTRESS OF SOLITUDE fly based on his keen ear for integrating disparate musical modalities into the fabric of musical theatre. These elements gel perfectly, giving Ghostlight Records' release of THE FORTRESS OF SOLITUDE (Original Cast Recording) mesmerizing life.

I don't know if Lin-Manuel Miranda and Michael Freidman are acquaintances or not, but as both are pushing more contemporary sounds into the landscape of musical theatre I certainly imagine that they are listening to one another and taking notes from each other. Clearly, both are working to ensure that the world of theatre finds a lasting audience with members of Generation X, the Millennials (Generation Y), and even Generation Z. Perhaps the mindset that Michael Freidman used to craft a show like BLOODY BLOODY ANDREW JACKSON somewhat inspired the hip-hop infused rap battles of HAMILTON? Perhaps the inclusion of aspects of hip-hop and rap in IN THE HEIGHTS, HAMILTON, and even in Matt Sax and Eric Rosen's VENICE inspired the plot appropriate use of rap in THE FORTRESS OF SOLITUDE? Regardless, these writers are changing the shape and voice of American musical theatre, and the proliferation of their works is simply exciting.

As a throwback to Gowanus, Brooklyn in 1975, Michael Friedman's work for THE FORTRESS OF SOLITUDE weaves the established sound of Motown and the pioneering sounds of early rap and punk rock of the era into a score that reflects the tumultuous changes occurring in a neighborhood where the blending of ethnicities caused tumult. Based on Jonathan Lethem's novel of the same title, the music of THE FORTRESS OF SOLITUDE captures a rift and a current that would forever change the face of the music industry. The show kicks off with a cheerful soul tune with beguiling and catchy lyrics, "Prelude," which introduces the audience to the music of Junior and the Subtle Distinctions. This is interrupted by the Adam Chandler-Berat's Dylan singing a light rock ode to the music that inspired his mother. Instantly, the passing of the cultural torch from one generation to another creates a tension. Michael Friedman's score then spends the rest of the album straddling the musical periods of the past and the present in the show's setting.

There are poppy 70s soul pieces with charming lyrics on tracks like "The One I Remember," "Grab Something (And Never Let Go)," "Superman/Sidekick," and more. The laidback, chill of 70s singer-songwriters finds its way into numbers like "The Times Keep Changing," which even references The Mamas & the Pappas and Bob Dylan in the lyrics. Early East Coast rap styling appears on tracks like "High High High School" and "The Ballad of Mingus Rude." Lastly, hints of punk sneak into the finale song, "Middle Spaces." Additionally, songs like "White Boy" even interpolate pop hits like "Play That Funky Music" (Robert Parissi), which is not a new technique for Michael Freidman. He did similar things when he sampled "To Be with You" (Eric Martin, David Grahame) in his score for LOVE'S LABOUR'S LOST.

Across these different styles, Michael Friedman's songs carry emotional weight, which is made all the more poignant by his well-crafted and evocative lyrics. A master of the craft of composing for theatre, he creates tracks that can be listened to and enjoyed on their own, but once you see how they fit into a larger piece of the show's puzzle, they become so much richer. The narrative he weaves through the music is tangible, even when only experienced on this disc. To be fair, THE FORTRESS OF SOLITUDE has a complicated plot, and I did have to do research to fully understand how these songs fit into the larger story; yet, without that research, the songs were easy to connect with, gave me an understanding of the characters and their conflicts, and were emotionally effective.

Perhaps too esoteric or complexly sophisticated to be ravenously appreciated by the commercialized Broadway masses, Off-Broadway hit THE FORTRESS OF SOLTIUDE's original cast recording is a striking example of musical theatre done perfectly right. Listening to the album, I am devastated that I missed the show's celebrated run at The Public Theater. But, I can and do hope for a revival at some point in my life. This accessible but artistic score is just the kind of thing to illustrate the fact that modern musical theatre as an art form viably exists.

Ghostlight Records released THE FORTRESS OF SOLITUDE (Original Cast Recording) both digitally and physically on March 23, 2015. The album can be purchased from the Ghostlight Records online store, iTunes, Amazon, and elsewhere music is sold.

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