As a young theater fan in the 1960s, I discovered the magic of Broadway musicals through original cast albums. Those recordings introduced me to leading men and ladies who sang with perfect diction and astonishing tonal beauty. Later, I learned that my favorites had pursued classical training that might have served them equally well in opera. I still love their performances, now on remastered Broadway CDs, but over the years, I’ve also searched for new artists who sing with the same polished technique and charisma of those legends from the musical’s golden age.
Imagine my delight when, during separate visits to Broadway in 2003, I encountered Brent Barrett and Lisa Vroman, two undisputed titans of the current era. Barrett was playing Billy Flynn in Chicago, and when he strolled on stage oozing rakish charm in “All I Care About Is Love,” he dazzled the audience with his shimmering tenor, high-wattage smile, and magnetic presence. Vroman, a petite, beautiful redhead, had begun a yearlong run as Christine Daae, the ingénue diva in The Phantom of the Opera. Beginning with her opening phrases in “Think of Me,” she stole the show with her dazzling coloratura and emotional conviction.
When I got home I bought the DVD of Barrett’s 2002 London Kiss Me Kate, a tour de force performance whose charming and hilarious Fred was a striking contrast to his cynical Billy Flynn in Chicago. I also bought the DVD of Vroman’s 2002 San Francisco Sweeney Todd, a note-perfect portrayal of Johanna, whom she brought to life with subtle vocal and dramatic colors. These singing actors struck me as remarkably versatile, making me wish I’d seen Barrett’s star turn as Frank Butler (opposite Reba McEntire) in Broadway’s Annie Get Your Gun (2000) and Vroman’s acclaimed Rosabella (opposite Paul Sorvino) in New York City Opera’s The Most Happy Fella (2005).
When CS asked me to write about crossover, I seized the opportunity to solicit Brent Barrett and Lisa Vroman’s advice for singers who might be considering a foray into musicals, whether in a book show such as Phantom—The Las Vegas Spectacular, which Barrett has been doing at the Venetian Hotel since last June, or in concerts and recitals such as the “Not Quite Classical” program Vroman performed last month with the Oregon Symphony.
Coincidentally, these Broadway stars have worked together many times (though not in “Phantom”) and they speak fondly of one another. The rest of this article focuses on Barrett who spoke to me from his jasmine-scented terrace in Las Vegas, “a big change from New York.” (See Part Two on page 44 to read my conversation with Vroman.)
