The Complete Phantom of the Opera (Owl Books) Review

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The Complete Phantom of the Opera (Owl Books) ReviewAs a hardcore Phantom fan, I am always looking for more information on the play. I came across this amazing book in the public library in my town and was amazed at the detail. There was so much that I didn't already know, and I knew a lot. I wanted to keep on renewing the book and never give it back but a good friend of mine, who is also very adamant about Phantom, went searching for this book that I wouldn't shut up about and bought me a copy. I love it. It includes info on the opera house, Gaston Leroux(the author of the novel on which Andrew Lloyd Webber's play is based), the story behind the novel, Lon Chaney's film, other versions of the film and other plays, Andrew Lloyd Webber's version, and the Libretto. This is the most complete and well written book on the play I've come across. George Perry reveals the intricacies of the production from make-up to costumes to set to everything. I consider this a valuable part of my Phantom collection and I highly recommend it to anyone who likes this play or theater in general. It rocks!The Complete Phantom of the Opera (Owl Books) Overview

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"Sunset Boulevard": From Movie to Musical Review

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"Sunset Boulevard": From Movie to Musical ReviewThis is a great book for any "Sunset Blvd." fan. Although it's out of print, I was able to find numerous copies (on sale) at most Waldenbooks stores."Sunset Boulevard": From Movie to Musical Overview

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Ever After: The Last Years of Musical Theater and Beyond Review

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Ever After: The Last Years of Musical Theater and Beyond ReviewPrimarily Barry Singer's compilation (with some re-editing) of pieces he wrote for a number of publications, perhaps most notably The New York Times, Ever After: The Last Years of Musical Theater and Beyond is intriguing as surface-level look at the last couple of decades in musical theater. It's useful for little else, however--Singer speeds through discussions of important shows, wastes time detailing events and productions of minor importance at best, and never provides a truly engaging or thought-provoking point of view. Instead, he attempts to pass his opinions off as fact, which results in a number of statements of questionable veracity that have been noted by theater writers and critics from the esteemed Mr. Miller to Peter Filichia. Perhaps even more unfortunate is that Singer's chronicle covers exactly the same time period as Ethan Mordden's forthcoming The Happiest Corpse I've Ever Seen: The Last 25 Years of Musical Theatre; Singer's Ever After does not stand up well to Mordden's latest volume, coming across more as a simpleton's whining screed opposite an intelligent and informed gentleman's thoughtful analysis. Ever After is perhaps most enjoyed and appreciated by those with little functional knowledge of the workings of New York theater; they're likely to find Singer's anecdotes more interesting than people who know it's possible cover the subject in considerably more depth than Singer attempts.Ever After: The Last Years of Musical Theater and Beyond Overview

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The Megamusical (Profiles in Popular Music) Review

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The Megamusical (Profiles in Popular Music) ReviewAlthough I've listened to the scores of "Phantom of the Opera," "Cats" and "Les Miserables," I never felt passionately about them. In fact, "Cats" always annoyed me (I'm a dog person myself, and where's the plot?). Author Jessica Sternfeld, however, seems to convey an affection for these large, motif-laden scores in her book "Megamusicals." The book combines Sternfeld's detailed, scholarly examinations of these scores, particularly repeated phrases, pastiches and the use of historical themes, with backgrounds on the conception and production of these shows as well as other megamusicals, including "Jesus Christ Superstar," "Miss Saigon" and "Chess."
Her clear, dynamic prose keeps readers moving through the book, although a few of the denser passages on musical theory are a bit of a slog for non-musicians. (There were a few "oh, yeah" momemnts, however, particularly in her exploration of "Phantom"). I did enjoy reading the narratives on the shows' history, significance and critical reception. Sternfeld is not uniformly approving of what Lloyd Webber and Schonberg did in these musicals, but she does bring out enough depth to make me want to hear them again. I think she does a fine job at defining a subgenre of musical theater, particularly since the genre itself seems to have sunk with "The Pirate Queen." Megamusicals created fantastic worlds through state-of-the-art tech, broad themes and sung-through scores, as Sternfeld and her predecessors, cited at length in the narrative, teach us. You can appreciate the artistry of some of these shows without giving up your allegiance to Sondheim.The Megamusical (Profiles in Popular Music) Overview

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Jesus Christ Superstar: A Rock Opera Review

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Jesus Christ Superstar: A Rock Opera ReviewThe songs included in this book are Heaven on Their Minds, Everything's Alright, Hosanna, Pilate's Dream, Last Supper, Gethsemane, King Herod's Song, and Superstar. A few things should be noted: Firstly, Heaven on their Minds does not include the "all gone sour" last four verses that are used in live productions of jcs. Instead the song is written to fade away. That might present a problem to people performing or using that song for an audition. The last supper only includes the chorus that the apostles sing. Superstar is tuned to a C instead of the original E that is on all of the recordings and live productions. Other than that, all the other keys are the same as you might hear them on cd recordings, 1973 movie, and live productions. Chords are also included for guitar players.Jesus Christ Superstar: A Rock Opera Overview

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Rock opera;: The creation of Jesus Christ superstar, from record album to Broadway show and motion picture Review

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Rock opera;: The creation of Jesus Christ superstar, from record album to Broadway show and motion picture ReviewThis book was an extraordinary adventure for me, as I wrote it {and I did write the ENTIRE book} within two years of leaving The New York Times and setting out on a new area, the world of film and film music and rock and rock opera. I was heavily involved for a year working with, advising The Who, Neil Diamond, Rick Nelson, even Lorretta Lynn and Brenda Lee. I had the distinct honor of introducing Elton John to the U.S. in his first appearances in New York and Philadelphia. Then came my time as manager of artist relations for MCA, and meeting Tim Rice, who's been a friend since, and Andrew Lloyd Webber, who's been an acquaintance since (I'm sure he has some friends, I just don't know that many of them, as they tend to be royalty or very upper class British). I was there with them from one of their first visits to the U.S., when they had very little money and actually had to stay in my apartment, to the debut of their rock opera Jesus Christ Superstar and on to the movie and their other works, such as Evita, Chess, Cats, Phantom of the Opera, Aspects of Love, etc.
I consider myself so very blessed to have been in the "right" place at the "right" time and to have participated in their/these lives and careers.
And if it had not been for Loretta, I would never have renewed my interest in Patsy Cline and written so often of her.
Rock Opera:The Creation of Jesus Christ Superstar is worth the price if only for the incredible photo gallery. Of course, I hope you find the writing interesting, too.
I am amazed at how many people still treasure this book and how many colleges use it in their theater courses.
Ellis Nassour, New York, July 2001Rock opera;: The creation of Jesus Christ superstar, from record album to Broadway show and motion picture Overview

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Andrew Lloyd Webber (Yale Broadway Masters Series) Review

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Andrew Lloyd Webber (Yale Broadway Masters Series) ReviewJohn Snelson's book is a good academic treatment of Lloyd Webber's work, not a biography. Snelson looks at Lloyd Webber's work as a whole, comparing themes, Lloyd Webber's maturation as a composer, other elements of his work and posits Lloyd Webber as a Broadway Master. While it may lean a little too favorable to the composer, particularly with regards to his recycling of previous material, it is a good read and probably the most insightful look at his work that I have read.Andrew Lloyd Webber (Yale Broadway Masters Series) Overview

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Broadway Jeeves? (Biography and Autobiography) Review

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Broadway Jeeves (Biography and Autobiography) ReviewI quite enjoyed this tale of the travails of the Broadway-bound company of BY JEEVES, however, I had expected it to have more humor. I didn't realize how put-upon the folks from this show were. I'm more sorry than ever that I didn't see some incarnation of the show. Jarvis certainly nails the details of what a cast must go through when they try to bring something special to the theatre. Great reading for the theatre-fan, maybe not as interesting for the fellow looking for a dose of laughter.Broadway Jeeves (Biography and Autobiography) Overview

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A Cat's Diary: How The Broadway Production of Cats Was Born (Art of Theater Series) Review

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A Cat's Diary: How The Broadway Production of Cats Was Born (Art of Theater Series) ReviewThoroughly enjoyable. The pages flew by. You get a real appreciation of how close the company grew, and how grueling the rehersals were. It is amazing how much was done in a relatively short rehersal period. I saw the show and loved it. I do not know if that made difference, but I would think that for anyone interested in the theater, this would be a wonderful book.A Cat's Diary: How The Broadway Production of Cats Was Born (Art of Theater Series) Overview

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