Cory Stillman
Gypsy first debuted on Broadway in 1959. In the several decades since, the Stephen Sondheim/Jule Styne musical has taken its rightful place as one of the crowning achievements in American theatre, spawning countless revivals on both Broadway and the West End. The 2024 Broadway revival was nominated for 5 Tony Awards, and most recently nabbed a much-deserved Grammy nomination for Best Musical Theater Album. It’s the 8th nomination for album producer David Caddick, who previously won in the category for his work on the West Side Story album in 2010.
This latest recording of Gypsy and its iconic tunes is innovative in more ways than one, but Caddick is arguably most proud of how the album carries forward some of the show’s most time-honored traditions.
“The overture of Gypsy is rightfully considered one of the finest of any musical, and this performance of it is thrilling,” says Caddick, who returned to the original orchestration of the 1959 musical to make this new recording unique.
Caddick’s embrace of that original orchestration was more complicated than it might seem, however. As he explains, the original score was “written and copied by hand. Changes made during production were not recorded in the original score, but a full set of parts were found in a music library, so in order to compile a full score, a music team painstakingly went instrument by instrument, note by note, inputting the data into a music notation software program.” That level of dedication surely illustrates why Gypsy landed its Grammy nomination, but Caddick is sure to shout out his talented performers as well.
“I believe we captured the power and bravura performance of Audra McDonald,” says Caddick. “In the isolation of a recording studio, we created a space that allowed her to go on that searing emotional journey, and the result is extraordinarily powerful.”
Check out the full conversation with Caddick below!
Gypsy is one of the most iconic musicals of all time. What does it mean to you to have the music on such a legendary title recognized by the Recording Academy?
It is hugely gratifying to know the members of the Academy recognized the quality of this recording of Gypsy. The non-traditional casting of the leading actors and the return to the original orchestration make this recording unique.
What were the guiding principles that shaped your vision for the Gypsy cast album?
With an orchestra of 27 players plus a large cast of actors, there are only two studios in Manhattan that can handle such a project, so we first had to secure the studio on the dates we wanted. Fortunately, Power Station Studios had the dates available. Then followed discussions on the content – which tracks to include and how we would organize the recording schedule.
Were there particular songs or sequences that posed significant musical or engineering challenges?
Studio A at Power Station can accommodate the orchestra, and there are two isolation booths for the principal actors. We needed a second studio for the other principals and ensemble. The challenge is continuous to monitor between two different physical spaces and keeping everything flowing. Each song has different actors – microphones and foldback levels have to be adjusted for each song.
The producers of Gypsy wanted to return to the original 27-piece orchestration, but there was no accurate and complete score in existence. At the time Gypsy was orchestrated (1959), the score and parts were written and copied by hand. Changes made during production were not recorded in the original score, but a full set of parts were found in a music library, so in order to compile a full score, a music team painstakingly went instrument by instrument, note by note, inputting the data into a music notation software program.
Can you share a standout moment from the recording sessions that truly embodied the creative energy behind the project?
My two favorite moments are the overture and the final scene. The overture of Gypsy is rightfully considered one of the finest of any musical, and this performance of it is thrilling. In “Rose’s Turn,” I believe we captured the power and bravura performance of Audra McDonald. In the isolation of a recording studio, we created a space that allowed her to go on that searing emotional journey, and the result is extraordinarily powerful.
How do you feel this recording of Gypsy contributes to the show’s ongoing legacy within musical theater history?
As with any iconic piece, it’s the quality and skill of the performances that make an indelible imprint on people’s memories. David Lai and I wanted to capture that energy and give the listener the opportunity to enjoy the power and detail of this wonderful music.
The GRAMMY nomination adds a new chapter to Gypsy’s recording lineage. What do you hope listeners and future artists take away from this version?
Since the original recording in 1959, there have been many others, and this recording stands proudly among them with outstanding performances from the actors and the musicians.
Are there upcoming projects or musical directions you’re excited to explore with the momentum of this nomination?
I hope to continue to have opportunities to record music that engages the listener and makes them want to hear more. With a cast album, we’re telling a story. I want the listener to feel as if they have a front row seat right next to the orchestra.
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