| The Cast | CD Liner Notes | Kristine's Comments |
| Original London Cast Recording | Christine and Joel Higgins |
| The Cast | CD Liner Notes | Kristine's Comments |
| Original London Cast Recording
| Christine and Joel Higgins
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The Fields of Ambrosia Book and Lyrics by Joel Higgins The Cast:
In The Fields of Ambrosia, Christine played German immigrant, Gretchen Herzallerliebst, who was convicted of murder and sentenced to death by the electric chair. Joel Higgins played a reformed executioner, Jonas Candide, who falls in love with Gretchen and then plans to save her from the death sentence she faces. In American previews, The Fields of Ambrosia received rave reviews from critics, but then was harshly criticized when it premiered in London. This is an entertaining, thought-provoking, insightful story with superb musical numbers brought to life by Christine and Joel Higgins. Thankfully, their performances were preserved on the Original London Cast recording of the musical. (For more information on the controversy surrounding this production, see the section on CD Liner Notes below). |
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CD Liner notes on The Fields of
Ambrosia
"The colloquial yarn, set in the deep American south of 1918, about a compassionate con-man turned state 'travelling executioner' (Jonas Candide played by Joel Higgins) who falls in love with his first-ever female client (German immigrant, Gretchen, played by Christine Andreas) seems to have excited the passions of critics on both sides of the Atlantic, though in strinkingly different ways."
"The premiere production at the George St. Playhouse in New Brunswick, New Jersey was enthusiastically hailed by the majority of the American reviewers as 'An adventurous musical comedy with a literate, polished edge and a robust score' (Variety), 'An original, compelling and fun piece of modern American musical theatre' (The Star-Ledger), 'Positively riveting' (Theater Week), 'Wonderful, foot-stompin', heart-thumpin', soul-satisfyin' hit' (Time Off) and 'So full of beautiful songs - intelligent and challenging, a far cry from the kind of airheaded trivia that often passes for plot in musicals' (Star Gazette). Many of the British critics, however, vilified the production at the Aldwych Theatre in London's West End as 'Morally unappealing...disgusting and titillating' (Evening Standard), 'All very strange' (Sunday Telegraph), 'As if everyone has had any sense of good taste, or indeed morality, surgically removed' (Daily Telegraph), 'What next - a hanging, gassing, shooting or lethal injection show?' (London Times)."
"Amazed by the English vitriol, the American critic Peter Filichia, who attended the London opening, wrote in the Neward Star Ledger and Theater Week: 'Though I am a theater critic, I am ashamed that British theater critics are so simple. And so mean. I'm flabbergasted that they couldn't respond to one of the most fascinating, fully three-dimensional characters I've ever encountered in the (literally) thousands of musicals I've seen'. Even some of the British writers weighed in: 'They came offering heaven and found themselves in hell...They ran straight into Lucifer's forces, better known in these quarters as the London theater critics' (Mike Gidd, Show Music)."
"The Fields of Ambrosia at the Aldwych closed on February 10, 1996 after running only 23 performances. Perhaps Sarah Vincent, a British writer for the syndicated PA Features, embraced and illuminated the controversy best when she wrote: 'This superb piece of creativity combines some of the most unlikely characteristics. It is colorful yet sombre, funky yet sinister, entertaining yet disturbing. It is an Amercian show, and perhaps an American audience would feel happier with the electric chair center stage...but for a British audience it is macabre and sinister. This said, you are torn between the gruesome and the endearing. It challenges the viewer to laugh in a situation where you sometimes feel laughter could not be possible. You are left with a sense of being moved by something original and challenging, portrayed by a hugely talented cast'."
Kristine's comments on The Fields of Ambrosia
Though I did not see The Fields of Ambrosia, upon reading the CD liner notes (see above), I could not help but be reminded of The Scarlet Pimpernel and Sweeney Todd, two absolutely brilliant musicals which put the audience in somewhat similar circumstances. These are two of my favorite musicals of all time for a number of reasons, one of which is the intriguing situation you, as an audience member, are placed in. Indeed, the musicals are colorful yet sombre, humorous yet sinister. And when I listen to my CD of The Fields of Ambrosia, I have no doubt that I would have loved this musical as well; the story, the characters, the songs, and the performances of Christine Andreas and Joel Higgins.
As a musical theatre reviewer for Intermission, a theatre magazine in St. Louis, I would like to say something on behalf of The Fields of Ambrosia. As with many, many great works of art in all genres, their artistic merit and value is only admired and appreciated long after the work of art makes its debut in the world, only when audiences have had time to mature enough to admire, appreciate, and then love the unique creation before them. Unfortunately, British critics and audiences were not ready for the work of art entitled The Fields of Ambrosia. And for those of us who admire and love it just from listening to this recording, we can look forward to the day when audiences will not only be ready for a revival, but will long for the depth and intelligence it presents.
| "The score, courtesy of Martin Silvestri and Joel Higgins, is a joy, from the melodic and powerful titletrack through quality production numbers like 'Nuthin'' and 'Step Right Up' and that is without mentioning two of the most glorious duets you are likely to encounter in the form of 'Too Bad' and 'Continental Sunday' - Mike Gibb, Show Music
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The 1996 Original Cast Recording of The Fields of Ambrosia Book and Lyrics by Joel Higgins CLICK HERE to listen to the songs on 1. Ball and Chain For a review of this recording prior to its London opening, CLICK HERE |
| Joel Higgins in The Fields of Ambrosia |
Joel Higgins has been Christine's long time friend and collaborator. After starring with Christine in The Fields of Ambrosia, Joel wrote two original songs, "Harry's Dreams" and "Cover Me" which Christine recorded on her solo CD, Love is Good. Joel also sings two duets with Christine on Love is Good, "Cover Me" and a delightful new combination of two songs from South Pacific, "Some Enchanted Evening/Younger Than Springtime". |
| In 1998 I met Joel Higgins after the opening night performance of Damn Yankees at the St. Louis Muny (Joel, a Muny favorite, played Applegate). I got to say "Hi" to Joel from Christine! I had previously seen him at the Muny in Showboat, The Music Man, Guys and Dolls, and Three Coins in the Fountain. But St. Louis Muny audiences, myself included, have also had the pleasure of seeing Christine play "Maria" in the 1993 production of The Sound of Music! Of course she was wonderful in the role, lending her graceful touch to classic Rodgers and Hammerstein songs in the musical. St. Louisans can only hope that Christine will grace the Muny stage with her elegant presence again someday...:-) | Kristine (webmaster) with Joel Higgins after the 1998 summer St. Louis Muny production of Damn Yankees |
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