I've no idea either. It's so lazy and unimaginative to simply dismiss Webber outright. Both have had their successes and failures. Perhaps people feel that in the case of Sondheim's 'hits' this hasn't (until perhaps recently) translated into financial success - therefore he retains the air of a 'starving artist' who has never sacraficed his artistic integrity just to make a quick buck.
In truth, both men are not just composers but remarkable dramatists. Webber has an incredible eye for what will work on a stage - even in his less successful shows there are moments of absolute brilliance. I have to say that within the business I rarely hear actors voice a strong dislike of Webber - his work has provided work for hundreds of thousands of people of the years. Even so, the 'kudos' of doing a Sondheim show probably still looks better on the CV...
I think you can expect all Kenwright shows to include a reduced band in future. The new music supervisor likes his click tracks!
That's a bit unfair. The number of musicians would not, unfortunately, be down to the musical supervisor. He would be given the music budget for a show and told to make it work. I'm sure any supervisor in the world would request the maximum number of musicians for any given show if they could. With so little to work with, it's understandable that an orchestrator would use click tracks to supplement the live musicians he has been allowed.
MusicalTalk, on 22 September 2013 - 06:21 PM, said:
Yes - Alan's expanded score is stunning! They burn Esmeralda at the end (yay for actually doing the novel) and it's all pretty bleak due to the fact Quasimodo kills the Gargoyles.
As a bit of trivia, Alan sings that amazing top D at the end of The Bells of Notre-Dame in the movie's score!
Does anyone else squirm with embarrassment everytime MusicalTalk uses first names for composers/Orchestrators etc?
Yes, I understand that frequently you know all these guys personally, but it still reaks of unnecessary name dropping...
Whilst I'm having a rant MusicalTalk, don't you think you should conduct your twitter feed in a more professional way instead of being so bitchy and biased against certain shows and composers? You are in the privileged position of getting to interview some fantastic names in the business but whenever you take cheap shots it just makes you sound unprofessional, untrustworthy and immature. Surely a better way to promote your podcast would be to show an unbiased appreciation of types of musical theatre? I say this as someone who has listened and enjoyed many of your shows but your online persona really does let you down.