by William Ruhlmann
Though defined early on as a folksinger, Judy Collins was tackling theater music in orchestral settings as early as her 1966 In My Life album, and she scored a Top 40 hit in 1977 with Stephen Sondheim's &Send in the Clowns& from A Little Night Music. So, an album of Broadway standards, most of them arranged by Sondheim orchestrator Jonathan Tunick, seems like a good idea for her. Collins' voice has a timbre similar to that of Broadway star Barbara Cook; they share a certain warmth and sincerity, though Cook's singing has an ingenuousness to it, while Collins' is more ethereal and aloof. Nevertheless, Collins' best moment on Classic Broadway is her version of &Till There Was You,& Cook's showcase number from The Music Man. She also fares well on reflective songs like &Younger Than Springtime,& &They Say It's Wonderful,& &How Are Things in Glocca Morra?& and a remake of &Send in the Clowns& that is as good as ever. But the becalmed, uninvolved nature of her singing is less well suited to songs that require some emotional -- the stormy, self-deceptive &Don't Cry for Me Argentina,& say, or the comically mocking &My Funny Valentine.& (One thing Collins never displays is a sense of humor.) Worst of all is Rodgers & Hart's &Bewitched,& an expression of female arousal that Collins simply can't handle; it's no wonder that she uses the bowdlerized pop lyrics employed in the 1950s by people like Doris Day, but even Day sounded sexier. As such, Classic Broadway is a mixed bag by a wonderful singer who might have been better advised in some cases to select songs she was better able to interpret.