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.
Whatever else you say about him, you surely have to concede that ALW has always been surprising with his choice of subject matters. If he'd listened to every person who told him "That's a terrible name/idea for a musical" over the years he'd probably never have made a penny."
I'm sure ALW has no expectations of this running for 20 years but clearly the subject matter interests him. Perhaps after the roasting he got over Love Never Dies he likes the idea of working on a show for which there is no huge expectation.
yes Seriously - have you never heard of show adaptations or rewrites ? It is not a huge change just an improvement in my opinion. It was originally written in 1975 so there is no reason 38 years later why you can not make some small changes .... audience expectations in 2013 are rather different to 1976 and productions have developed a hell of a lot since then.. a small change / changes I have mentioned will not take away anything from the feeling of the production and might just add in a little more interest..
What you say makes no sense. The whole point of the show is to get the audience to connect with these 'faceless' ensemble members but this would never happen if there were the proverbial falling chandeliers and helicopters taking off to disctract us. When I saw the show last week, the whole audience was drawn in to point that at times you could hear a pin drop in the auditorium. The moment at the end when the lights around the proscenium came on (the simplest stage effect imaginable) produced a gasp and a cheer because it was like a tension had been released. This is simply one of the most moving and at times devastating musicals in the West End at the moment...and you write it off because it doesn't have a flying car.
If 2013 audiences struggle with A Chorus Line then I think it says more about how lazy and fickle we have all become rather than how dated this show is.
I feel so sad every time I imagine Tim Rice sat at home wondering how his musical could have come to this. JCS is respected and loved by just about everyone I have worked with and to see it reduced to a crass, money-making circus must be devastating for the poor man. Come on Tim...If you're reading this I dare you to boycott an episode and hit ALW on the forehead with a dessert spoon!