By John Snelson
Andrew Lloyd Webber is the main famous—and such a lot controversial—composer of musical theater alive this present day. thousands of hundreds of thousands of individuals have obvious his musicals, which come with Cats, The Phantom of the Opera, Starlight show, Joseph and the superb Technicolor Dreamcoat, Jesus Christ celebrity, Evita, and sundown side road. much more recognize his songs.Lloyd Webber’s many awards comprise seven Tonys and 3 Grammys—but he has still been the topic of better severe vitriol than any of his inventive friends. Why have either the guy and his paintings provoked such severe responses? Does he problem his audiences, or simply recycle the cozy and regularly occurring? Over 3 many years, how has Lloyd Webber replaced essentially what a musical can be?In this sustained exam of Lloyd Webber’s inventive profession, the song pupil John Snelson explores the massive variety of affects that experience knowledgeable Lloyd Webber’s paintings, from movie, rock, and pa track to Lloyd Webber’s personal lifestyles tale. This rigorous and sympathetic survey might be crucial examining for an individual attracted to Lloyd Webber’s musicals and the realm of contemporary musical theater that he has been so instrumental in shaping.
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Extra resources for Andrew Lloyd Webber (Yale Broadway Masters Series)
This was only nine months after the closure in the West End of Whistle Down the Wind, some four months before the closure of Starlight Express, and about eight months before the last performance of Cats, on May 11, 2002, its twenty-ﬁrst birthday. Although By Jeeves had opened at the Helen Hayes Theatre on Broadway on October 28, 2001, its announced initial run of sixteen weeks was curtailed on December 31, 2001. By the middle of 2002 only The Phantom of the Opera remained in the West End and on Broadway.
Geographically it was a matter of crossing one road. Ideologically, it has encompassed the creative dilemma in which the need to express individuality through novelty vies with a desire for acceptance through canonical values. Metaphorically, the journey has been of a rich variety, not just within the Lloyd Webber repertory, but around the genre of the musical itself. And if the destination seems to have been one familiar from the inception of the journey, the landscape has been made more interesting through the detours taken to reach it.
13 John Barber wrote: ‘‘The rich score, by Andrew Lloyd Webber, has melodies even more seductive than the famous ‘Don’t Cry for Me, Argentina’ (for instance, ‘Another Suitcase’). The book, by Tim Rice, enjoys to the full his heroine’s charisma. But he does more. He uses the splendiferous occasion to enquire, covertly, whether leaders must always win popularity by exploiting the greed and naivety of the masses, and whether it is ever possible for them to rise above the corruption inherent in all power.
Andrew Lloyd Webber (Yale Broadway Masters Series) by John Snelson