Stephen Sondheim and Andrew Lloyd Webber : The New Musical: The New MusicalThe New York Times called Stephen Sondheim "the greatest and perhaps best known artist in the American musical theater," while two months earlier, the same paper referred to his contemporary, Andrew Lloyd-Webber as "the most commercially successful composer in history." Whatever their individual achievements might be, it is agreed by most critics that these two colossi have dominated world musical theater for the last quarter century and hold the key to the direction the musical stage will take in the future. Here in the third volume of Stephen Citron's distinguished series The Great Songwriters--in depth studies that illuminated the musical contributions, careers, and lives of Noel Coward and Cole Porter (Noel & Cole: The Sophisticates), and Oscar Hammerstein 2nd and Alan Jay Lerner, (The Wordsmiths)--this eminent musicologist has taken on our two leading contemporary contributors to the lyric stage. His aim has not been to compare or judge one's merits over the other, but to make the reader discover through their works and those of their contemporaries, the changes and path of that glorious artform we call Musical Theater. In his quest, Citron offers unique insight into each artist's working methods, analyzing their scores--including their early works and works-in-progress. As in Citron's previously critically acclaimed books in this series, great significance is given to the impact their youthful training and private lives have had upon their amazing creative output. Beginning with Sondheim's lyrics-only works, West Side Story, Gypsy, Do I Hear A Waltz? through his scores for Saturday Night, Company, Anyone Can Whistle, Follies, Pacific Overtures, A Little Night Music, Sweeney Todd, Merrily We Roll Along, Sunday In the Park, Into the Woods, Assassins, and Passion, all these milestones of musical theater have been explored. Lloyd-Webber's musical contribution from his early works, The Likes of Us and Joseph to Jesus Christ Superstar, Evita, Cats, Starlight Express, Aspects of Love, By Jeeves, The Phantom of the Opera, Song & Dance, Mass, Sunset Boulevard to Whistle Down the Wind are also thoroughly analyzed. The works of these two splendid artists are clarified for the casual or professional reader in context with their contemporaries. Complete with a quadruple chronology (Sondheim, Lloyd-Webber, US Theater, British Theater), copious quotations from their works, and many never before published illustrations, the future of the artform that is the crowning achievement of the 20th century is made eminently clear in this book. Sondheim & Lloyd-Webber is a must-read for anyone interested in the contemporary theater. |
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Sondheim and Lloyd-Webber: the new musical
Avis d'utilisateur - Not Available - Book VerdictIn his latest entry of "The Great Songwriters" series (after The Wordsmiths, LJ 6/1/95), Citron profiles Stephen Sondheim and Andrew Lloyd-Webber, two of the late 20th century's most prominent ... Consulter l'avis complet
Review: Stephen Sondheim and Andrew Lloyd Webber: The New Musical (Great Songwriters Series)
Avis d'utilisateur - Cory Howell - GoodreadsI'm actually just kind of skimming through this book. Although it has an interesting premise, Sondheim and Lloyd Webber as the main players in late 20th century musical theater, it's appallingly ... Consulter l'avis complet
Table des matières
| 237 | |
| 257 | |
Not So Merrily | 278 |
A Tale for Children | 308 |
| 324 | |
| 341 | |
| 366 | |
The Film Noir Becomes Plus Noir | 377 |
Autres éditions - Tout afficher
Expressions et termes fréquents
album American Andrew Lloyd-Webber Andrew Lloyd-Webber's asked Assassins audience award become Bernstein British Broadway called cast Cats characters collaborators comedy Company composer Copyright critics dance eventually Evita feeling film Follies George Giorgio Girls Gypsy Hal Prince Hammerstein idea Jesus Christ Superstar Joseph knew Lapine later Laurents libretto Little Night Music Lloyd London look lyricist Mackintosh melody moved movie musical theater never Nunn opening opera Oscar Pacific Overtures Passion performances Phantom piano play premiere Prince's producer record rehearsal revival revue Rice Rice's Richard Rodgers Robbins rock Rodgers role Sarah Sarah Brightman scene score script show's sing Sond song stage star Starlight Express Stephen Sondheim Steve Stigwood Styne success Sunday Sunset Boulevard Superstar Sweeney Todd Sydmonton tells theatrical theme things Tim Rice told Tony tunes wanted Webber West Side Story wife write written wrote York young
Fréquemment cités
Page 117 - When his brothers saw that their father loved him more than any of them, they hated him and could not speak a kind word to him.
Page 322 - Starlight Express is the perfect gift for the kid who has everything except parents.
Page 117 - Israel loved Joseph more than any of his other sons, because he had been born to him in his old age; and he made a richly ornamented robe for him.
Page 228 - They are illusions They're not the solutions they promised to be \ The answer was here all the time I love you and hope you love me...
Page 82 - For a small fee in America! (ROSALIA) I like the city of San Juan — (ANITA) I know a boat you can get on. (ROSALIA) Hundreds of flowers in full bloom — (ANITA) Hundreds of people in each room!
Page 228 - It won't be easy, you'll think it strange When I try to explain how I feel, That I still need your love after all that I've done. You won't believe me, All you will see is a girl you once knew, Although she's dressed up to the nines, At sixes and sevens with you.
Page 238 - I couldn't figure out how the language was so rich and thick without being fruity. . . . [Bond] was able to take all these disparate elements that had been in existence rather dully for a hundred and someodd years and make them into a first-rate play.
Page 141 - I remember days, Or at least I try, But as years go by, They're a sort of haze, And the bluest ink Isn't really sky, And at times I think I would gladly die For a day of sky. In...
Page 228 - At sixes and sevens with you I had to let it happen: I had to change Couldn't stay all my life down at heel Looking out of the window, staying out of the sun So I chose freedom Running around trying everything new But nothing impressed me at all I never...
