I’m a lover and curator of music.
I have an ever-growing amount of playlists, each designed and collected for a specific mood, moment in time or voyage. Each time I drive the five hours between campus and my hometown, I create a new playlist for the journey.
The exception to my playlists is when I go to YouTube to listen to performances from MCC Theater’s yearly event: “Miscast.”
Featuring the voices of contemporary and established musical-theater stars, “Miscast” offers performers the chance to perform the songs of characters they’d never get cast as. It plays with gender roles, tropes and comedy to create a charismatic and infinitely entertaining production.
As much as these performances live in my head, it wasn’t until this year that I had a way to add these songs to my playlists.
This year, MCC Theater got together “Miscast” performers to record their memorable songs and released them collectively under the title: “Miscast: The Studio Sessions.” Featuring arrangements by Will Van Dyke and a range of actors from the past two decades of musical theater, the album doesn’t disappoint in talent and production.
The album is a digestible, compact 48 minutes. I’d recommend taking the time to enjoy the whole thing, but in case you’re just looking for a few songs to round out your latest playlist, I’ve ranked the album’s 12 songs on a scale from impressed to awestruck.
12. “Edelweiss” from “The Sound of Music” sung by Lea Salonga
This simple ballad is best when given the room to breathe. Nothing about the song is flashy, so it succeeds with clean vocals and clear singing. Salonga is more than up for this. Her belt is easy and smooth, perfectly inflecting the song with emotions while not losing the flow.
However, she is done a disservice by the overly complicated musical arrangement whose synths and techno production sometimes compete with her voice. I wish this song had been left stripped down so that Salonga’s effortless delivery could have remained the song’s centerpiece.
11. “The Wizard and I” from “Wicked” sung by Ben Platt
Somewhat controversially, “The Wizard and I” is a skip-song for me. While composer Stephen Schwartz is a genius when it comes to musical motifs and foreshadowing, this song doesn’t tend to catch my ear.
This is nothing against Platt, though, who sings beautifully, alternating between a steady belt and contemporary riffs. While the song is overproduced, this style suits Platt’s style as a frequent vocal embellisher. Even if it isn’t a song I love, I enjoy Platt’s palpable joy while performing this number.
10. “The Human Heart” from “Once On This Island” sung by Leslie Odom Jr. and Nicolette Robinson
Another flowing ballad to add to the list, “The Human Heart” features some beautiful lyrics regarding what it means to be a community member. The styling on this song perfectly reflects this, allowing Odom and Robinson’s chemistry and melodies to perfectly pair and intertwine.
My only disappointment with this number is that there’s no definite climax to the song. Given Odom and Robinson’s talent, I kept waiting for a decisive vocal moment to bring the house down. Still, I think this will make its rotation on my calming playlists.
9. “Beautiful City” from “Godspell” sung by Kelli O’Hara
The arrangement on this piece was sublime. The soft guitar that perfectly builds with each chorus coupled with O’Hara’s vocal control makes for an intimate, moving performance. While the song discusses rebuilding from loss and the perseverance of humanity, the delivery is gentle and contemplative.
This intimacy creates a connection between the song and the listener. Several times, I found myself leaning closer towards my phone to catch all the intricacies of the composition. While the climax of the song is not dramatic, it feels like a fitting conclusion.
8. “Endless Night” from “The Lion King” sung by Heather Headley
Headley is one of the most memorable talents of the past few decades of theater. She has an arresting voice that commands attention and draws the listener close. I’ve been a fan of hers since listening to her as the title role in “Aida.” Here, she shows how and why she is a leading lady.
Headley delivers a powerful performance. This is not only a beautiful rendering of this song, but an emotive performance that takes the listener through a journey. Headley navigates the song from quiet introspection to loud declaration – truly astounding.
7. “If I Were A Rich Man” from “Fiddler on the Roof” sung by Katrina Lenk
“If I Were A Rich Man” is easily one of my favorite theater solos. This functions not only as a declaration of the character’s desires for social mobility, but as a showcase of the performer’s timing – both comedic and dramatic, as the song alternates between self-deprecating remarks and larger social observations.
Lenk is an ideal pick for this, filling the song with humor while nailing a sardonic delivery. Her violin accompaniments only add to this, adding jokes to the song while also showing off her musical prowess. It’s a treat, though I never know whether to laugh or remain politely somber.
6. “Come to Your Senses” from “Tick, Tick, Boom” sung by Raúl Esparza
Esparza is no stranger to the work of “Tick, Tick, Boom” composer Jonathan Larson – nor a stranger to the work of Larson’s mentor Stephen Sondheim. His choice to sing a ballad of Larson’s is a nod to his career, and one that lands.
Esparza’s voice is unique and distinctive, and the quirks of the music suit him. He embraces the style of Larson’s music – a mixture of rock with catchy pop – without compromising his own grittier rock sensibilities. This chimeric blend of rock stylings creates an electrifying performance.
5. “Take Me or Leave Me” from “Rent” sung by Aaron Tveit and Gavin Creel
I’ll be the first to admit that I am not “Rent’s” biggest fan, but this doesn’t keep the songs from getting stuck in my head. “Take Me or Leave Me” is especially catchy, a chaotic capturing of how closely related love and hate are.
Tveit and Creel have more than enough chemistry to anchor the performance. Their voices pair beautifully when required, and they also spar with one another through cleverly timed riffs to show the disagreement of their characters. It’s an entertaining listen and a standout from the history of MCC because of the palpable energy Tveit and Creel bring.
In the wake of Creel’s recent passing, this serves as a lovely tribute to his memory.
4. “Let Me Be Your Star” from “Smash” sung by Jeremy Jordan and Jonathan Groff
As someone who has never watched “Smash,” I wasn’t sure what to expect from the opening number of the album. However, I shouldn’t have ever doubted it would be good as Jordan and Groff are both established performers in the field. Here, their iconic, recognizable belts are put on full display.
I truly don’t think there’s a better pairing for this. It’s flamboyant and dramatic. I’ve listened to it six times in a row without getting bored. I hope MCC invites Jordan and Groff to perform together again.
3. “What Is It About Her?” from “The Wild Party” sung by Stephanie J. Block
Another of my favorite musical solos, “What Is It About Her?” teeters on the line between compelling and disturbing. It’s a song of obsession and control disguised as a love song, and one that isn’t afraid to delve deep into the twisted psyche of its character.
This is a stark departure from Block’s usual roles as the solid, stable force, but she slips into this new role with surprising ease. The arrangement is a little chaotic, but it works, unraveling alongside Block’s character. The ending is particularly striking, resonating long after the song concludes.
2. “Go the Distance” from “Hercules” sung by Eva Noblezada
Noblezada is probably my favorite current theater actor. She is a force to be reckoned with, a chameleon of the field who performs in all genres of show and music. She’s incapable of a bad delivery, and this is no different, as she takes “Go the Distance” from excellent to applaud-worthy.
The electric guitar accompaniment is not my favorite and occasionally feels out of place, but Noblezada is so wholly in control of her song that she makes every decision feel intentional. Even when it does intrude, I’m so enthralled by Noblezda’s smooth belting and riffing that I’m willing to forgive it. Now, all I need is Noblezada’s rendition of “I Won’t Say (I’m In Love).”
1. “Who I’d Be” from “Shrek” sung by Rachel Zegler
Of the many shows to grace Broadway’s stage, the success and quality of “Shrek” will always surprise me. Featuring a score by the infinitely talented Jeanine Tesori, “Shrek” is a show stacked full of beautiful melodies, harmonies and catchy tunes. I was a fan of “Who I’d Be” since I first heard it, but Zegler’s rendition renewed my love and redefined it.
Zegler is a once in a generation talent, and while she’s found success in movies, “Who I’d Be” is the argument to put her on any and every stage. Her belts, timing and the way she traces the emotional progression of the song is crisp and flawless.
Final Thoughts
Getting to relive the magic of MCC’s “Miscast” in audio form was a wonderful experience. The album is enriching for pre-existing theater fans and solid enough to be accessible to those less familiar with the medium. I hope MCC will continue to immortalize this event via an album to make it more accessible and to preserve the raw talent found here.