By John Snelson
Andrew Lloyd Webber is the main famous—and such a lot controversial—composer of musical theater alive this day. thousands of thousands of individuals have visible his musicals, which come with Cats, The Phantom of the Opera, Starlight show, Joseph and the superb Technicolor Dreamcoat, Jesus Christ famous person, Evita, and sundown street. much more be aware of his songs.Lloyd Webber’s many awards comprise seven Tonys and 3 Grammys—but he has still been the topic of larger severe vitriol than any of his creative friends. Why have either the fellow and his paintings provoked such severe responses? Does he problem his audiences, or only recycle the cozy and common? Over 3 many years, how has Lloyd Webber replaced essentially what a musical can be?In this sustained exam of Lloyd Webber’s artistic profession, the track student John Snelson explores the immense diversity of affects that experience expert Lloyd Webber’s paintings, from movie, rock, and pa track to Lloyd Webber’s personal existence tale. This rigorous and sympathetic survey may be crucial studying for an individual attracted to Lloyd Webber’s musicals and the area of contemporary musical theater that he has been so instrumental in shaping.
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Additional info for Andrew Lloyd Webber (Yale Broadway Masters Series)
Starlight Express was praised for its innovative staging, accepted within the limits of its pastiche-song score, but criticized for its basic story and sometimes absurdly simplistic lyrics. In the clichéd plot, the underdog steam train Rusty loves the glamorous carriage Pearl but must steal her aﬀections away from a rival diesel train, Greaseball (characterized by rock ’n’ roll and macho attitude), by winning a race. But the show became hugely popular, second only to Cats in the West End. 18 06:50 their sustained success.
Such a change was provoked by his second wife, Sarah Brightman, whose voice—large range, ﬂexible technique, bright tone, and clear diction—provided the catalyst for Lloyd Webber to begin writing in a more expansive and romantic idiom, ﬁrst with Requiem in 1985, and then with The Phantom of the Opera in 1986. Church music had been a part of Lloyd Webber’s upbringing, and he had continued to compose sacred pieces for services that formed part of the annual Sydmonton Festival. So Requiem was not as unlikely a project as it may have seemed.
Added to the Cats equation was direction by Trevor Nunn, at that stage associated with the subsidized straight theater through his post as artistic director of the Royal Shakespeare Company. , South Paciﬁc, My Fair Lady, and Anything Goes for the Royal National Theatre. In retrospect, Cats can be seen as pivotal through the combination of its creative team and important in the way that a nonstandard mixture of music, movement, and narrative achieved large-scale popular appeal. Lloyd Webber’s next show, Starlight Express, continued the approach of Cats and so reinforced a particular image of what a ‘‘Lloyd Webber musical’’ was.