I HAVE to point out this fantastic new video from YouTube containing images/film excerpts of classic Disney villains against the backdrop of one of Steinman's most theatrical songs. When I was younger, Disney's "Beauty and the Beast" was my all-time favourite film and I watched it repeatedly, and "Bat out of Hell 2" was my favourite album. Now, in what almost seems like a dream come true, my childhood inspirations have almost been combined, childhood inspirations that inspired me to become a writer: Jim Steinman's music and Walt Disney's artistry. This is incredible. Anyone with any interest in Disney films and Steinman music has to stop everything they're doing RIGHT NOW and watch this video.
http://www.youtube.com/watch?v=Xa46GFQ3_qQ
Ryan.
Friday, October 30, 2009
Sunday, October 25, 2009
Updates to the website
* New home-page write-up
* New Essay section
* Press/Articles page combined
* FAQ slightly revised to include mention of Scaramouche who nobody @ Dark Knight Of The Soul has any contact with for those minority writing in & asking.
Recently site reached 33,333 hits after 3 years and 3 weeks precisely! How ironic!
Ryan.
* New Essay section
* Press/Articles page combined
* FAQ slightly revised to include mention of Scaramouche who nobody @ Dark Knight Of The Soul has any contact with for those minority writing in & asking.
Recently site reached 33,333 hits after 3 years and 3 weeks precisely! How ironic!
Ryan.
Thursday, October 22, 2009
Andrew Lloyd Webber Disses Coney Island of Today
By John Del Signore in Arts and Events on October 20, 2009 2:54 PM
When news broke two weeks ago that Andrew Lloyd Webber had set his hotly-dreaded Phantom of the Opera sequel in Coney Island circa 1919, the AP quoted Webber saying, "[Coney Island] was the eighth wonder of the world. Think of Vegas and then triple it." But the wire service left out the best and most controversial part of that quote, and some Coney Island locals have been insulted a little bit.
The full quote Webber gave at the press conference included this declaration of war on the entire borough of Brooklyn: "Of course, Coney Island today is nothing at all.." Damn, you gonna take that Coney? Not Dennis Vourderis, co-owner of Deno's Wonder Wheel Amusement Park, who tells the Daily News, "What he said is insulting. If we're 'nothing at all' why did he set his new musical here?" And Dick Zigun, founder of the Coney Island Circus Sideshow, retorts, "We have a more authentic freak show than what he's got onstage."
A publicist for the sequel, called Love Never Dies, has tried to placate locals by insisting that Webber was "simply pointing out that it is a different place today than it was 100 years ago." Which is certainly true, but not for nothing, it's not "nothing." Until Weber personally apologizes to Coney Island, we're boycotting the Broadway transfer of Love Never Dies!
http://gothamist.com/2009/10/20/andrew_lloyd_webber_disses_coney_is.php
When news broke two weeks ago that Andrew Lloyd Webber had set his hotly-dreaded Phantom of the Opera sequel in Coney Island circa 1919, the AP quoted Webber saying, "[Coney Island] was the eighth wonder of the world. Think of Vegas and then triple it." But the wire service left out the best and most controversial part of that quote, and some Coney Island locals have been insulted a little bit.
The full quote Webber gave at the press conference included this declaration of war on the entire borough of Brooklyn: "Of course, Coney Island today is nothing at all.." Damn, you gonna take that Coney? Not Dennis Vourderis, co-owner of Deno's Wonder Wheel Amusement Park, who tells the Daily News, "What he said is insulting. If we're 'nothing at all' why did he set his new musical here?" And Dick Zigun, founder of the Coney Island Circus Sideshow, retorts, "We have a more authentic freak show than what he's got onstage."
A publicist for the sequel, called Love Never Dies, has tried to placate locals by insisting that Webber was "simply pointing out that it is a different place today than it was 100 years ago." Which is certainly true, but not for nothing, it's not "nothing." Until Weber personally apologizes to Coney Island, we're boycotting the Broadway transfer of Love Never Dies!
http://gothamist.com/2009/10/20/andrew_lloyd_webber_disses_coney_is.php
Saturday, October 17, 2009
Summer Strallen brings a little Ohh La La to the West End
By Baz Bamigboye
Last updated at 12:41 PM on 16th October 2009
Summer Strallen's definition of Ooh La La is 'it's like wow and fireworks at the same time'. In a way, she epitomises the term herself. She sashays through a lobby and heads turn. She moves the way Kay Thompson (Liza Minnelli's real-life godmother) did in Funny Face: as if her long legs are moving to a cool rhythm only she can hear.
As we exited my office building for a cup of cappuccino, I expected lush music to accompany her as she strode across the road.
Composer Andrew Lloyd Webber and director Jack O'Brien have cast Summer to play the Ooh La La girl in the big-time musical Love Never Dies, which follows the Phantom from the Paris Opera across the Atlantic to Coney Island, where he calls himself Mr Y and runs the Phantasma funfair attractions.
The Ooh La La girl is the name Mr Y has given to Meg Giry, who was the young ballet student in the original Phantom musical.
'In the first Phantom, Meg's very quiet - not very outlandish - so when she goes to Coney Island she changes a lot. She wants attention and thinks she's going to be a star.
'She's from France and hasn't forgotten how to be French, so the French aspects, coupled with being in America, bring out the ooh la la in her! It's like "wow" and when you watch a firework display . . . Ooh la la! There's going to be fireworks, we hope,' Summer, 25, told me. Unfortunately, Mr Y feels Meg lacks style. 'He doesn't believe she has that class that Christine, his former protegee, possesses,' Summer told me.
Instead of writing Meg stirring arias, Mr Y gives her end-of-the-pier fare - and that's exemplified in Summer's big song-and-dance number Bathing Beauty, which director O'Brien and choreographer Jerry Mitchell plan to build into a rousing vaudeville turn.
'Meg's a dancer who wants to be a star,' is as much as the actress will give away.
Summer sang on the show's concept album and her character's story arc is brilliantly dramatic. But people will have to wait until preview performances begin on February 20 to discover what fate awaits her at Phantasma.
Summer will feature opposite Sierra Boggess as Christine and Ramin Karimloo, playing the Phantom.
Liz Robertson will play Meg's mother Madame Giry and Joseph Millson has the role of Christine's husband Raoul, the Vicomte de Chagny.
Official rehearsals start early in January, although a lot of technical work has already been accomplished and Lloyd Webber's sublime score is complete.
Summer, who was in The Sound Of Music and Land Girls on BBC TV, is looking forward to the official opening night at the Adelphi on March 9. Her family will turn out in force and there's an affinity with the venue, too, because her father Sandy Strallen played there in Sunset Boulevard (another Lloyd Webber show) in the Nineties and her mother, Cherida Langford, trained children who have appeared there.
'My mother is already beside herself - and we haven't opened yet,' Summer declared.
The show will open to what could be the biggest box office in West End history.
By last night some £4.7 million worth of tickets had been snapped up in a week.
Interestingly, seats are being sold, through the Really Useful Company at least, without a booking fee.
Prices range from £25 to £67.50. Adding a booking fee would have sent prices to the £70 mark, which would have stirred up a revolt .
'The psychology is that £67.50 sounds a lot cheaper than £70,' one West End sage explained.
http://www.dailymail.co.uk/tvshowbiz/article-1220772/Summer-Strallen-brings-little-Ohh-La-La-West-End.html
Last updated at 12:41 PM on 16th October 2009
Summer Strallen's definition of Ooh La La is 'it's like wow and fireworks at the same time'. In a way, she epitomises the term herself. She sashays through a lobby and heads turn. She moves the way Kay Thompson (Liza Minnelli's real-life godmother) did in Funny Face: as if her long legs are moving to a cool rhythm only she can hear.
As we exited my office building for a cup of cappuccino, I expected lush music to accompany her as she strode across the road.
Composer Andrew Lloyd Webber and director Jack O'Brien have cast Summer to play the Ooh La La girl in the big-time musical Love Never Dies, which follows the Phantom from the Paris Opera across the Atlantic to Coney Island, where he calls himself Mr Y and runs the Phantasma funfair attractions.
The Ooh La La girl is the name Mr Y has given to Meg Giry, who was the young ballet student in the original Phantom musical.
'In the first Phantom, Meg's very quiet - not very outlandish - so when she goes to Coney Island she changes a lot. She wants attention and thinks she's going to be a star.
'She's from France and hasn't forgotten how to be French, so the French aspects, coupled with being in America, bring out the ooh la la in her! It's like "wow" and when you watch a firework display . . . Ooh la la! There's going to be fireworks, we hope,' Summer, 25, told me. Unfortunately, Mr Y feels Meg lacks style. 'He doesn't believe she has that class that Christine, his former protegee, possesses,' Summer told me.
Instead of writing Meg stirring arias, Mr Y gives her end-of-the-pier fare - and that's exemplified in Summer's big song-and-dance number Bathing Beauty, which director O'Brien and choreographer Jerry Mitchell plan to build into a rousing vaudeville turn.
'Meg's a dancer who wants to be a star,' is as much as the actress will give away.
Summer sang on the show's concept album and her character's story arc is brilliantly dramatic. But people will have to wait until preview performances begin on February 20 to discover what fate awaits her at Phantasma.
Summer will feature opposite Sierra Boggess as Christine and Ramin Karimloo, playing the Phantom.
Liz Robertson will play Meg's mother Madame Giry and Joseph Millson has the role of Christine's husband Raoul, the Vicomte de Chagny.
Official rehearsals start early in January, although a lot of technical work has already been accomplished and Lloyd Webber's sublime score is complete.
Summer, who was in The Sound Of Music and Land Girls on BBC TV, is looking forward to the official opening night at the Adelphi on March 9. Her family will turn out in force and there's an affinity with the venue, too, because her father Sandy Strallen played there in Sunset Boulevard (another Lloyd Webber show) in the Nineties and her mother, Cherida Langford, trained children who have appeared there.
'My mother is already beside herself - and we haven't opened yet,' Summer declared.
The show will open to what could be the biggest box office in West End history.
By last night some £4.7 million worth of tickets had been snapped up in a week.
Interestingly, seats are being sold, through the Really Useful Company at least, without a booking fee.
Prices range from £25 to £67.50. Adding a booking fee would have sent prices to the £70 mark, which would have stirred up a revolt .
'The psychology is that £67.50 sounds a lot cheaper than £70,' one West End sage explained.
http://www.dailymail.co.uk/tvshowbiz/article-1220772/Summer-Strallen-brings-little-Ohh-La-La-West-End.html
Phantom finds himself a new haunt
Friday, 16 October 2009
Andrew Lloyd Webber confessed that he has already sent the soundtrack of his latest musical, ‘Love Never Dies’ (sequel to ‘The Phantom of the Opera’) to two key figures – both of whom were involved in ‘Phantom’, and neither of whom have a part to play in the sequel: Cameron Mackinstosh, who worked with Lloyd Webber on the original, and Sarah Brightman (right), Lloyd Webber’s former wife and the first leading lady, Christine. Lloyd Webber said: “The two people in the world I most wanted to hear the soundtrack were Sarah Brightman and Cameron Macintosh.” After hearing the songs, Webber said that Cameron “wrote me one of the sweetest letters I have ever had”, while Sarah’s response was similarly supportive, and “funny”, he added. When quizzed about why Mackintosh was not producing the sequel, which takes place a decade after we last encountered the murderous phantom, now living on Coney Island, Lloyd Webber said: “Cameron has been incredibly supportive? but he has got his own life.” He said there would be no other sequels after this one. “I can’t say that the story could possibly continue.” The show opens on 9 March 2010 at the Adelphi Theatre, London
http://www.independent.co.uk/arts-entertainment/art/features/the-diary-andrew-lloyd-webber-john-walker-alice-channer-ian-mcewan-hilary-mantel-1803267.html
Andrew Lloyd Webber confessed that he has already sent the soundtrack of his latest musical, ‘Love Never Dies’ (sequel to ‘The Phantom of the Opera’) to two key figures – both of whom were involved in ‘Phantom’, and neither of whom have a part to play in the sequel: Cameron Mackinstosh, who worked with Lloyd Webber on the original, and Sarah Brightman (right), Lloyd Webber’s former wife and the first leading lady, Christine. Lloyd Webber said: “The two people in the world I most wanted to hear the soundtrack were Sarah Brightman and Cameron Macintosh.” After hearing the songs, Webber said that Cameron “wrote me one of the sweetest letters I have ever had”, while Sarah’s response was similarly supportive, and “funny”, he added. When quizzed about why Mackintosh was not producing the sequel, which takes place a decade after we last encountered the murderous phantom, now living on Coney Island, Lloyd Webber said: “Cameron has been incredibly supportive? but he has got his own life.” He said there would be no other sequels after this one. “I can’t say that the story could possibly continue.” The show opens on 9 March 2010 at the Adelphi Theatre, London
http://www.independent.co.uk/arts-entertainment/art/features/the-diary-andrew-lloyd-webber-john-walker-alice-channer-ian-mcewan-hilary-mantel-1803267.html
Tuesday, October 13, 2009
TILL I HEAR YOU SING...
TILL I HEAR YOU SING
From Love Never Dies
The day starts
The day ends
Time crawls by
Night steals in
Pacing the floor
The moments creep
Yet I can’t bear to sleep
Till I hear you sing
And weeks pass
And months pass
Seasons fly
Still you don’t
Walk through the door
And in a haze
I count the silent days
Till I hear you sing
Once more
And sometimes
At night time
I dream that you are there
But wake
Holding nothing but the
Empty air
And years come
And years go
Time runs dry
Still I ache
Down to the core
My broken soul
Can’t be alive and whole
Till I hear you sing
Once more
And music
Your music
It teases at my ear
I turn
And it fades away
And you’re not here
Let hopes pass
Let dreams pass
Let them die
Without you
What are they for?
I’ll always feel
No more than half way real
Till I hear you sing
Once more
From Love Never Dies
The day starts
The day ends
Time crawls by
Night steals in
Pacing the floor
The moments creep
Yet I can’t bear to sleep
Till I hear you sing
And weeks pass
And months pass
Seasons fly
Still you don’t
Walk through the door
And in a haze
I count the silent days
Till I hear you sing
Once more
And sometimes
At night time
I dream that you are there
But wake
Holding nothing but the
Empty air
And years come
And years go
Time runs dry
Still I ache
Down to the core
My broken soul
Can’t be alive and whole
Till I hear you sing
Once more
And music
Your music
It teases at my ear
I turn
And it fades away
And you’re not here
Let hopes pass
Let dreams pass
Let them die
Without you
What are they for?
I’ll always feel
No more than half way real
Till I hear you sing
Once more
Friday, October 9, 2009
Thoughts on the video for Love Never Dies
OK, I won't print any of the hundreds of articles now appearing on the internet, I'll just summarize...
We are treated to 2 songs from the show
The Overture/Coney Island Waltz & The Phantom's first solo
TILL I HEAR YOU SING...
Here are the lyrics a person from BroadwayWorld transcribed
QUOTE:
LYRICS:
The day starts
The day ends
Time crawls by
Night stealing(?)
Pacing the floor
The moment's creep yet I can't bear to sleep
Till I hear you sing
And weeks past, and months past
seasons fly
still you don't walk through the door
and in a hate I count the silent days
till I hear you sing once more
and sometimes and nighttime I dream that you are there
But wake holding nothing but the empty air
and eves come and leaves go
Time runs dry
Still I ache down to the core
My broken soul can't be alive and whole tell I hear you sing once more
and music your music, it teases in my ear
It turns and it fades away and you're not hear
Let hopes past. Let dreams past. Let them die
without you what are they for.
I'll always feel no more than halfway real
Till I hear you sing once more
[Sorry I can't structurally rewrite the lyrics for crap, and some I couldn't hear properly]
WATCH THE VIDEO @ www.loveneverdies.com!!!
The music is quite beautiful and soaring and I predict some success for Phantom 2 but, on the whole, it's nothing TOO special. It DOES feel like it will be better than most if not ALL of his scores since the original Phantom opened.
IMO.
Ryan.
We are treated to 2 songs from the show
The Overture/Coney Island Waltz & The Phantom's first solo
TILL I HEAR YOU SING...
Here are the lyrics a person from BroadwayWorld transcribed
QUOTE:
LYRICS:
The day starts
The day ends
Time crawls by
Night stealing(?)
Pacing the floor
The moment's creep yet I can't bear to sleep
Till I hear you sing
And weeks past, and months past
seasons fly
still you don't walk through the door
and in a hate I count the silent days
till I hear you sing once more
and sometimes and nighttime I dream that you are there
But wake holding nothing but the empty air
and eves come and leaves go
Time runs dry
Still I ache down to the core
My broken soul can't be alive and whole tell I hear you sing once more
and music your music, it teases in my ear
It turns and it fades away and you're not hear
Let hopes past. Let dreams past. Let them die
without you what are they for.
I'll always feel no more than halfway real
Till I hear you sing once more
[Sorry I can't structurally rewrite the lyrics for crap, and some I couldn't hear properly]
WATCH THE VIDEO @ www.loveneverdies.com!!!
The music is quite beautiful and soaring and I predict some success for Phantom 2 but, on the whole, it's nothing TOO special. It DOES feel like it will be better than most if not ALL of his scores since the original Phantom opened.
IMO.
Ryan.
Thursday, October 8, 2009
LOVE NEVER DIES has been ANNOUNCED!!!!
This is the email I just received from the newly rendered OFFICIAL WEBSITE:
PREVIEW PERFORMANCES BEGIN 20TH FEBRUARY 2010
TICKETS NOW ON SALE!
The principal characters of The Phantom of the Opera continue their stories in Andrew Lloyd Webber's LOVE NEVER DIES.
Ten years after the mysterious disappearance of The Phantom from the Paris Opera House, Christine Daaé accepts an offer to come to America and perform at New York's fabulous new playground of the world - Coney Island.
Christine arrives in New York with her husband Raoul and their son Gustave. She soon discovers the identity of the anonymous impresario who has lured her from France to sing.
LOVE NEVER DIES is a rollercoaster ride of obsession and intrigue...
in which music and memory can play cruel tricks... and The Phantom
sets out to prove that, indeed, LOVE NEVER DIES.
Watch the London launch at
www.loveneverdies.com
CLICK TO BOOK ONLINE
or call the Box Office on
0844 412 4651
ADELPHI THEATRE
Strand • London WC2
PREVIEW PERFORMANCES BEGIN 20TH FEBRUARY 2010TICKETS NOW ON SALE!
The principal characters of The Phantom of the Opera continue their stories in Andrew Lloyd Webber's LOVE NEVER DIES.
Ten years after the mysterious disappearance of The Phantom from the Paris Opera House, Christine Daaé accepts an offer to come to America and perform at New York's fabulous new playground of the world - Coney Island.
Christine arrives in New York with her husband Raoul and their son Gustave. She soon discovers the identity of the anonymous impresario who has lured her from France to sing.
LOVE NEVER DIES is a rollercoaster ride of obsession and intrigue...
in which music and memory can play cruel tricks... and The Phantom
sets out to prove that, indeed, LOVE NEVER DIES.
Watch the London launch at
www.loveneverdies.com
CLICK TO BOOK ONLINE
or call the Box Office on
0844 412 4651
ADELPHI THEATRE
Strand • London WC2
It begins...
Quote from BWW article (Can't find any others yet)
QUOTE:
"...Rialto Chatter has learned that "The Heart Is Slow To Learn", a number that debuted at Lord Lloyd Webber's 50th birthday concert and who's melody was used for the song "Our Kind Of Love" in his 2000 West End musical 'The Beautiful Game', will again return as part of the 'PHANTOM' sequel. Another song that struck a chord with people who have heard the score is the dark and romantic "Fortune Teller." Vocally the "Phantom" and "Christine" will be very different from their original musical identities. Interestingly, an audience member who witnessed the last full workshop, remarked that "Love Never Dies" is "a worthy chapter in the Phantom's story" and the most "romantic music we've heard in years."
http://broadwayworld.com/article/Lloyd_Webbers_LOVE_NEVER_DIES_Officially_Reveals_Itself_108_20091007
QUOTE:
"...Rialto Chatter has learned that "The Heart Is Slow To Learn", a number that debuted at Lord Lloyd Webber's 50th birthday concert and who's melody was used for the song "Our Kind Of Love" in his 2000 West End musical 'The Beautiful Game', will again return as part of the 'PHANTOM' sequel. Another song that struck a chord with people who have heard the score is the dark and romantic "Fortune Teller." Vocally the "Phantom" and "Christine" will be very different from their original musical identities. Interestingly, an audience member who witnessed the last full workshop, remarked that "Love Never Dies" is "a worthy chapter in the Phantom's story" and the most "romantic music we've heard in years."
http://broadwayworld.com/article/Lloyd_Webbers_LOVE_NEVER_DIES_Officially_Reveals_Itself_108_20091007
Monday, October 5, 2009
Thursday this week
It will not only be the press launch of "Love Never Dies", the sequel to "The Phantom of the Opera", but the day the new logo for my novel/night opera "Don Claude Devious" is unveiled on its respective website. I was really impressed with the results!
So big day Thursday!
I also heard back from Karla DeVito who sang on the original tour for "Bat out of Hell" in 1978, and recorded vocals for the Jim Steinman album "Bad for Good". She sent me a really sweet reply to my message about what it was like to record Jim's solo album which I think is brilliant and has never gotten the attention it deserved.
Ryan.
So big day Thursday!
I also heard back from Karla DeVito who sang on the original tour for "Bat out of Hell" in 1978, and recorded vocals for the Jim Steinman album "Bad for Good". She sent me a really sweet reply to my message about what it was like to record Jim's solo album which I think is brilliant and has never gotten the attention it deserved.
Ryan.
Sunday, October 4, 2009
Andrew Lloyd Webber attempts to make history with Phantom of the Opera sequel
Andrew Lloyd Webber faces his greatest challenge yet this week when he launches the sequel to The Phantom of the Opera.
By Roya Nikkhah, Arts Correspondent
Published: 7:55AM BST 04 Oct 2009
Tickets to Love Never Dies are expected to go on sale on Thursday. The show, which is scheduled to open at the Adelphi Theatre in March 2010, will be the first ever West End musical sequel.
In a move that some theatre experts have described as "risky", Lloyd Webber will also attempt to make history by staging the first successful sequel to a musical anywhere in the world. All previous bids to repeat the triumph of original productions have failed miserably.
Love Never Dies continues the story of Christine Daaé, the beautiful Parisienne soprano who becomes the protégée of Erik, a mysterious, disfigured musical genius also known as the Phantom.
Billed as "a roller-coaster ride of obsession and intrigue", the sequel is set in 1907, 10 years after the mysterious disappearance of the Phantom from the Paris Opera House. The story unfolds as Christine accepts an invitation to perform at Phantasma, a new attraction at New York's Coney Island.
But when she arrives in New York with her husband, Raoul and their young son Gustave, she soon discovers the identity of the anonymous impresario who has lured her away from Paris
The original musical, which was based on the 1909 novel The Phantom of the Opera by the French author Gaston Leroux, opened in London in October 1986 at Her Majesty's Theatre. Composed by Lloyd Webber with lyrics by Charles Hart and Richard Stilgoe, it initially starred Michael Crawford and Sarah Brightman in the leading roles.
The most successful live entertainment event of all time, it has spawned more than 20 productions around the world, taking over £3.5 billion at the box office and playing to more than 100 million people.
It also holds the record for the longest-running production on Broadway and the second-longest running in West End musical history, after Les Misérables.
Fans of The Phantom of the Opera have been hoping for a sequel since 1999, when the author Frederick Forsyth published the novel The Phantom of Manhattan with Lloyd Webber's approval. But plans to adapt the book for the stage were abandoned when it was poorly received by critics.
Lyrics to the £10 million production of Love Never Dies, which will feature a life-size automaton of Christine, have been written by Glenn Slater, who also wrote the songs for the hit West End show Sister Act.
It will star Sierra Boggess, the American soprano, and Ramin Karimloo, the Iranian-born baritone who is currently playing the lead in the London production of The Phantom of the Opera. If successful, the show is expected to open on Broadway next autumn.
Ken Davenport, a theatre producer whose shows include the Broadway musical 13 and Altar Boyz, the longest-running off-Broadway musical to open in the last 10 years, said that musical sequels were "a risky proposition".
"Nobody has attempted a musical sequel in a long time because there have been some really dismal failures in the past," he said. "It is an incredibly risky proposition and I was nervous when Andrew announced it.
"You could argue that sequels should only ever be done if the audience has had enough of the first run. But the Phantom is both a powerful global brand and a very romantic and mysterious character, so a lot of people will want to know what happened next.
"Certainly there is always the chance for a flop. People said in the past that Andrew could never write anything that wouldn't be a success, but then we got Whistle Down the Wind."
Whistle Down the Wind, Lloyd Webber's adaptation of the 1961 film about three children who discover a fugitive hiding in their barn, opened in Washington DC in 1996 to scathing reviews. Nicknamed "Whistle Down the Drain" by critics, its Broadway transfer was cancelled.
Musical sequels in the theatre have a woeful track record. The original production of Annie opened on Broadway in 1977 and ran for 2,377 performances, with similar success soon afterwards in the West End.
But a 1989 sequel, Annie 2: Miss Hannigan's Revenge opened to disastrous reviews and never made it to Broadway. In 1993, a second attempt at a sequel, Annie Warbucks, opened off-Broadway but fared little better, closing after only 200 performances.
The 1960 hit Broadway musical Bye Bye Birdie, a satire of Elvis Presley, opened to critical acclaim and ran for 607 performances. But in 1981, the same creative team staged a sequel called Bring Back Birdie, which folded after just four performances.
A similar fate awaited the sequel to the 1978 Broadway musical The Best Little Whorehouse in Texas, which ran for 1,584 performances. Its successor, The Best Little Whorehouse Goes Public, opened in 1994 and closed after just two weeks.
Musicals with film sequels have avoided repeating the venture in the theatre. Grease and Dirty Dancing are both long-running West End productions as well as successful films. Their film sequels, Grease 2 and Dirty Dancing: Havana Nights, were commercial flops; neither has spawned a stage sequel.
Sir Tim Rice, the Oscar-wining lyricist who has collaborated with Lloyd Webber on musicals including Jesus Christ Superstar and Evita, said that the fate of previous musical sequels was "irrelevant".
He said: "Rules are made to be broken and whether a musical is a sequel or original is irrelevant. All that matters is whether or not it is any good and word of mouth."
http://www.telegraph.co.uk/culture/theatre/theatre-news/6257769/Andrew-Lloyd-Webber-attempts-to-make-history-with-Phantom-of-the-Opera-sequel.html
By Roya Nikkhah, Arts Correspondent
Published: 7:55AM BST 04 Oct 2009
Tickets to Love Never Dies are expected to go on sale on Thursday. The show, which is scheduled to open at the Adelphi Theatre in March 2010, will be the first ever West End musical sequel.
In a move that some theatre experts have described as "risky", Lloyd Webber will also attempt to make history by staging the first successful sequel to a musical anywhere in the world. All previous bids to repeat the triumph of original productions have failed miserably.
Love Never Dies continues the story of Christine Daaé, the beautiful Parisienne soprano who becomes the protégée of Erik, a mysterious, disfigured musical genius also known as the Phantom.
Billed as "a roller-coaster ride of obsession and intrigue", the sequel is set in 1907, 10 years after the mysterious disappearance of the Phantom from the Paris Opera House. The story unfolds as Christine accepts an invitation to perform at Phantasma, a new attraction at New York's Coney Island.
But when she arrives in New York with her husband, Raoul and their young son Gustave, she soon discovers the identity of the anonymous impresario who has lured her away from Paris
The original musical, which was based on the 1909 novel The Phantom of the Opera by the French author Gaston Leroux, opened in London in October 1986 at Her Majesty's Theatre. Composed by Lloyd Webber with lyrics by Charles Hart and Richard Stilgoe, it initially starred Michael Crawford and Sarah Brightman in the leading roles.
The most successful live entertainment event of all time, it has spawned more than 20 productions around the world, taking over £3.5 billion at the box office and playing to more than 100 million people.
It also holds the record for the longest-running production on Broadway and the second-longest running in West End musical history, after Les Misérables.
Fans of The Phantom of the Opera have been hoping for a sequel since 1999, when the author Frederick Forsyth published the novel The Phantom of Manhattan with Lloyd Webber's approval. But plans to adapt the book for the stage were abandoned when it was poorly received by critics.
Lyrics to the £10 million production of Love Never Dies, which will feature a life-size automaton of Christine, have been written by Glenn Slater, who also wrote the songs for the hit West End show Sister Act.
It will star Sierra Boggess, the American soprano, and Ramin Karimloo, the Iranian-born baritone who is currently playing the lead in the London production of The Phantom of the Opera. If successful, the show is expected to open on Broadway next autumn.
Ken Davenport, a theatre producer whose shows include the Broadway musical 13 and Altar Boyz, the longest-running off-Broadway musical to open in the last 10 years, said that musical sequels were "a risky proposition".
"Nobody has attempted a musical sequel in a long time because there have been some really dismal failures in the past," he said. "It is an incredibly risky proposition and I was nervous when Andrew announced it.
"You could argue that sequels should only ever be done if the audience has had enough of the first run. But the Phantom is both a powerful global brand and a very romantic and mysterious character, so a lot of people will want to know what happened next.
"Certainly there is always the chance for a flop. People said in the past that Andrew could never write anything that wouldn't be a success, but then we got Whistle Down the Wind."
Whistle Down the Wind, Lloyd Webber's adaptation of the 1961 film about three children who discover a fugitive hiding in their barn, opened in Washington DC in 1996 to scathing reviews. Nicknamed "Whistle Down the Drain" by critics, its Broadway transfer was cancelled.
Musical sequels in the theatre have a woeful track record. The original production of Annie opened on Broadway in 1977 and ran for 2,377 performances, with similar success soon afterwards in the West End.
But a 1989 sequel, Annie 2: Miss Hannigan's Revenge opened to disastrous reviews and never made it to Broadway. In 1993, a second attempt at a sequel, Annie Warbucks, opened off-Broadway but fared little better, closing after only 200 performances.
The 1960 hit Broadway musical Bye Bye Birdie, a satire of Elvis Presley, opened to critical acclaim and ran for 607 performances. But in 1981, the same creative team staged a sequel called Bring Back Birdie, which folded after just four performances.
A similar fate awaited the sequel to the 1978 Broadway musical The Best Little Whorehouse in Texas, which ran for 1,584 performances. Its successor, The Best Little Whorehouse Goes Public, opened in 1994 and closed after just two weeks.
Musicals with film sequels have avoided repeating the venture in the theatre. Grease and Dirty Dancing are both long-running West End productions as well as successful films. Their film sequels, Grease 2 and Dirty Dancing: Havana Nights, were commercial flops; neither has spawned a stage sequel.
Sir Tim Rice, the Oscar-wining lyricist who has collaborated with Lloyd Webber on musicals including Jesus Christ Superstar and Evita, said that the fate of previous musical sequels was "irrelevant".
He said: "Rules are made to be broken and whether a musical is a sequel or original is irrelevant. All that matters is whether or not it is any good and word of mouth."
http://www.telegraph.co.uk/culture/theatre/theatre-news/6257769/Andrew-Lloyd-Webber-attempts-to-make-history-with-Phantom-of-the-Opera-sequel.html
Saturday, October 3, 2009
The oompaloompas, live and in person
By Steven Zeitchik
Willy Wonka could soon be kicking up his heels.
Warner Bros. is developing a stage musical based on "Charlie and the Chocolate Factory," the children's classic that it bought to the big screen four years ago.
Sam Mendes' and Caro Newling's Neal Street Prods. are on board to produce the project. Mendes is eyeing it as a directing vehicle, but is far from making a decision on helming, said people familiar with the situation.
David Greig has been hired to write the book. The Scottish playwright has penned a slew of plays, including "Damascus," "The American Pilot" and the real-estate drama "The Architect," which became a 2006 movie starring Anthony LaPaglia.
Marc Shaiman and Scott Wittman, meanwhile, will compose the music; both worked on Warners/New Line 2007 big screen treatment of "Hairspray."
The concept behind the stage version of "Factory" is to take the candy-colored set pieces -- seen most elaborately in the effects of Tim Burton's 2005 pic -- and translate them to the stage, while also creating new musical elements and transferring some that animated the pic.
The project is being overseen by Gregg Maday's Warner Bros. Theatre Ventures, which was also involved in the musical adaptation of "The Color Purple" and the Elton John vampire musical “Lestat.”
Roald Dahl's children's classic -- about a poor boy who wins a tour of a mysterious chocolate factory from the eccentric Willy Wonka -- first came to the screen in 1971 from Paramount as "Willy Wonka & the Chocolate Factory." The Warners version, titled “Charlie and the Chocolate Factory” and starring Johnny Depp as Wonka, made nearly $500 million worldwide for the studio in 2005, fusing Dahl's quirky imagination with Burton's elaborate visuals.
Maybe more important -- and more encouraging for Warners -- the property historically has been known for its music. The 1971 version won an Oscar for best original score and featured hits such as "The Candy Man Can," while the 2005 pic featured a score composed (and a few songs sung) by Danny Elfman.
Mendes has been the rare presence who toggles between film and stage work. He came to prominence as artistic director at London's Donmar Warehouse, and on the British stage has directed the Stephen Sondheim musical "Assassins" as well as the revival of "Cabaret," among others. In the U.S., he has in the past few years helmed "Gypsy" and "The Vertical Hours" on Broadway and Shakespeare and Chekhov at BAM.
But he is only at the consideration stage of directing any stage version of "Factory." The hyphenate is currently contemplating a number of film projects, particularly at Focus Features, where he is developing the George Eliot novel "Middlemarch," the cattle-herding saga "Butcher's Crossing" and the post-9/11 tale "Netherland" as producing and potential directing vehicles. He's also attached to the comicbook adaptation 'Preacher." Mendes most recently helmed the young-parent dramedy "Away We Go" for Focus.
http://www.riskybusinessblog.com/2009/10/charlie-and-the-chocolate-factory-musical.html
Willy Wonka could soon be kicking up his heels.
Warner Bros. is developing a stage musical based on "Charlie and the Chocolate Factory," the children's classic that it bought to the big screen four years ago.
Sam Mendes' and Caro Newling's Neal Street Prods. are on board to produce the project. Mendes is eyeing it as a directing vehicle, but is far from making a decision on helming, said people familiar with the situation.
David Greig has been hired to write the book. The Scottish playwright has penned a slew of plays, including "Damascus," "The American Pilot" and the real-estate drama "The Architect," which became a 2006 movie starring Anthony LaPaglia.
Marc Shaiman and Scott Wittman, meanwhile, will compose the music; both worked on Warners/New Line 2007 big screen treatment of "Hairspray."
The concept behind the stage version of "Factory" is to take the candy-colored set pieces -- seen most elaborately in the effects of Tim Burton's 2005 pic -- and translate them to the stage, while also creating new musical elements and transferring some that animated the pic.
The project is being overseen by Gregg Maday's Warner Bros. Theatre Ventures, which was also involved in the musical adaptation of "The Color Purple" and the Elton John vampire musical “Lestat.”
Roald Dahl's children's classic -- about a poor boy who wins a tour of a mysterious chocolate factory from the eccentric Willy Wonka -- first came to the screen in 1971 from Paramount as "Willy Wonka & the Chocolate Factory." The Warners version, titled “Charlie and the Chocolate Factory” and starring Johnny Depp as Wonka, made nearly $500 million worldwide for the studio in 2005, fusing Dahl's quirky imagination with Burton's elaborate visuals.
Maybe more important -- and more encouraging for Warners -- the property historically has been known for its music. The 1971 version won an Oscar for best original score and featured hits such as "The Candy Man Can," while the 2005 pic featured a score composed (and a few songs sung) by Danny Elfman.
Mendes has been the rare presence who toggles between film and stage work. He came to prominence as artistic director at London's Donmar Warehouse, and on the British stage has directed the Stephen Sondheim musical "Assassins" as well as the revival of "Cabaret," among others. In the U.S., he has in the past few years helmed "Gypsy" and "The Vertical Hours" on Broadway and Shakespeare and Chekhov at BAM.
But he is only at the consideration stage of directing any stage version of "Factory." The hyphenate is currently contemplating a number of film projects, particularly at Focus Features, where he is developing the George Eliot novel "Middlemarch," the cattle-herding saga "Butcher's Crossing" and the post-9/11 tale "Netherland" as producing and potential directing vehicles. He's also attached to the comicbook adaptation 'Preacher." Mendes most recently helmed the young-parent dramedy "Away We Go" for Focus.
http://www.riskybusinessblog.com/2009/10/charlie-and-the-chocolate-factory-musical.html
Friday, October 2, 2009
Love Never Dies Budget $8 Million US
5.5million UK pounds.
Compare this to the reports "Spider-Man: Turn off the Dark" is costing a staggering $45 million US to produce.
Also read my posts on "Love Never Dies" and "Spider-Man" and you'll see why I can easily route for Phantom 2 over that horrifying gluttonous Bono-ridden spectacle from every young artist's nightmare about the future lying in the gutter covered in rejection slips!
Ryan.
Compare this to the reports "Spider-Man: Turn off the Dark" is costing a staggering $45 million US to produce.
Also read my posts on "Love Never Dies" and "Spider-Man" and you'll see why I can easily route for Phantom 2 over that horrifying gluttonous Bono-ridden spectacle from every young artist's nightmare about the future lying in the gutter covered in rejection slips!
Ryan.
Lloyd Webber's angels are waiting in the wings
By Baz Bamigboye
Last updated at 12:26 AM on 02nd October 2009
Investors are being asked to fund Andrew Lloyd Webber's £5.5million sequel to Phantom Of The Opera, Love Never Dies, in £25,000 blocks.
Theatrical angels can buy as many £25,000 units as they want.
One well-known theatrical and literary figure told me he was considering stumping up £500,000 for 20 units of the show, which will begin previews at the Adelphi Theatre on February 20 and have its official world premiere first night on March 9. (However, because of the complexities of opening a new musical, those dates may shift.)
Angels are also being given the opportunity, if they so desire, to plough their money into the three productions of Love Never Dies being set for London, New York and Australasia.
Director Jack O'Brien and designer Bob Crowley spent most of August at the Adelphi ensuring that sets involving illusions and special effects were given test runs.
Lloyd Webber told me earlier in the summer that he didn't want the complex sets screwing up rehearsals and previews and insisted any kinks be sorted out well in advance.
On Thursday, Lloyd Webber will gather folk at Her Majesty's Theatre, Haymarket (home of Phantom Of The Opera) to announce what this page told you several months ago: that Ramin Karimloo will play the Phantom - although for a while in Love Never Dies he's a mysterious figure known as Mr Y who runs the Phantasma funfair attraction on Coney Island where the action, set in 1907, takes place. Mr Karimloo has played the Phantom in London, and also the role of Raoul.
Soprano Sierra Boggess will play Christine, a part she knows well. She played Christine in the Las Vegas production of Phantom and both she and Karimloo played their respective roles on the Love Never Dies concept album, which I have heard and which, for me, marks the composer's best score in more than a decade. Certainly, it's lush, dramatic and romantic.
If everything works at the Adelphi, audiences will be swept off their feet.
Tickets are being priced from £25 to £67.50, which includes a 75p restoration levy, which I have to say I find a bit of a con. A lot of theatres do this, I know, but when I go to Waitrose or Morrisons, they don't ask me to donate money to fix up any of their crumbling stores. So why should the Adelphi?
Arlene Phillips, a million-and-one times better than woeful Alesha Dixon, on Strictly... is about to follow the yellow brick road.
She will choreograph the new Wizard Of Oz stage musical that's being put together by director Jeremy Sams, with Andrew Lloyd Webber and Glenn Slater providing some new songs.
Glenn has also written lyrics for Love Never Dies and Sister Act at the London Palladium. Wizard Of Oz will be part of some awful TV casting show, but I'm more interested in the stage version, which will hit the West End late next year or early in 2011.
Can't wait to see Arlene put those Munchkins through their paces.
http://www.dailymail.co.uk/tvshowbiz/article-1217522/BAZ-BAMIGBOYE-Pianos-tuned-Lets-show.html
Last updated at 12:26 AM on 02nd October 2009
Investors are being asked to fund Andrew Lloyd Webber's £5.5million sequel to Phantom Of The Opera, Love Never Dies, in £25,000 blocks.
Theatrical angels can buy as many £25,000 units as they want.
One well-known theatrical and literary figure told me he was considering stumping up £500,000 for 20 units of the show, which will begin previews at the Adelphi Theatre on February 20 and have its official world premiere first night on March 9. (However, because of the complexities of opening a new musical, those dates may shift.)
Angels are also being given the opportunity, if they so desire, to plough their money into the three productions of Love Never Dies being set for London, New York and Australasia.
Director Jack O'Brien and designer Bob Crowley spent most of August at the Adelphi ensuring that sets involving illusions and special effects were given test runs.
Lloyd Webber told me earlier in the summer that he didn't want the complex sets screwing up rehearsals and previews and insisted any kinks be sorted out well in advance.
On Thursday, Lloyd Webber will gather folk at Her Majesty's Theatre, Haymarket (home of Phantom Of The Opera) to announce what this page told you several months ago: that Ramin Karimloo will play the Phantom - although for a while in Love Never Dies he's a mysterious figure known as Mr Y who runs the Phantasma funfair attraction on Coney Island where the action, set in 1907, takes place. Mr Karimloo has played the Phantom in London, and also the role of Raoul.
Soprano Sierra Boggess will play Christine, a part she knows well. She played Christine in the Las Vegas production of Phantom and both she and Karimloo played their respective roles on the Love Never Dies concept album, which I have heard and which, for me, marks the composer's best score in more than a decade. Certainly, it's lush, dramatic and romantic.
If everything works at the Adelphi, audiences will be swept off their feet.
Tickets are being priced from £25 to £67.50, which includes a 75p restoration levy, which I have to say I find a bit of a con. A lot of theatres do this, I know, but when I go to Waitrose or Morrisons, they don't ask me to donate money to fix up any of their crumbling stores. So why should the Adelphi?
Arlene Phillips, a million-and-one times better than woeful Alesha Dixon, on Strictly... is about to follow the yellow brick road.
She will choreograph the new Wizard Of Oz stage musical that's being put together by director Jeremy Sams, with Andrew Lloyd Webber and Glenn Slater providing some new songs.
Glenn has also written lyrics for Love Never Dies and Sister Act at the London Palladium. Wizard Of Oz will be part of some awful TV casting show, but I'm more interested in the stage version, which will hit the West End late next year or early in 2011.
Can't wait to see Arlene put those Munchkins through their paces.
http://www.dailymail.co.uk/tvshowbiz/article-1217522/BAZ-BAMIGBOYE-Pianos-tuned-Lets-show.html
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