By John Snelson
Andrew Lloyd Webber is the main famous—and so much controversial—composer of musical theater alive this day. enormous quantities of thousands of individuals have obvious his musicals, which come with Cats, The Phantom of the Opera, Starlight exhibit, Joseph and the fantastic Technicolor Dreamcoat, Jesus Christ big name, Evita, and sundown side road. much more comprehend his songs.Lloyd Webber’s many awards contain seven Tonys and 3 Grammys—but he has still been the topic of better severe vitriol than any of his creative friends. Why have either the guy and his paintings provoked such severe responses? Does he problem his audiences, or purely recycle the cozy and primary? 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 track pupil John Snelson explores the massive variety of affects that experience trained Lloyd Webber’s paintings, from movie, rock, and pa tune to Lloyd Webber’s personal lifestyles tale. This rigorous and sympathetic survey may be crucial analyzing for somebody drawn to Lloyd Webber’s musicals and the area 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)
So Requiem was not as unlikely a project as it may have seemed. ’’ As so often with Lloyd Webber’s work, the reviewers were divided over Requiem, but the public in Britain took to it, and it was given a Grammy Award in 1986 for Best Classical Composition; the ‘‘Pie Jesu,’’ released as a single, climbed to the top of the British singles charts within a matter of weeks. To be sure, the whole work is uneven, and the by now common references to a derivative style—here with Fauré particularly prominent—were invoked.
7107 Snelson / ANDREW LLOYD WEBBER / sheet 36 of 283 CHAPT ER 2 Telling Tales: A Survey of the Shows he name andrew lloyd webber immediately conjures up an image clear enough in many minds to be used as an adjective— he is of iconic status to the modern musical. But the works themselves are less susceptible to a group deﬁnition than the totemic evocations of a ‘‘Lloyd Webber show’’ might suggest. If anything, this repertory has an underlying restlessness, a resistance to simple categorization that has made its discussion diﬃcult.
It made for an unusual evening for the musical theater audience, with the two elements polarized rather than integrated: all the song ﬁrst, then all the dance. It was a physical deconstruction of established elements of the musical, the opposite of the concept of the integrated musical that had come to deﬁne the genre. Yet the form had a more pragmatic origin, building on the elements of another show that had begun in a similar way to Tell Me on a Sunday, and had at its heart the dance foundation of Variations.
Andrew Lloyd Webber (Yale Broadway Masters Series) by John Snelson