Gillian Lynne News

In honor of this week’s US release of THE PHANTOM OF THE OPERA AT THE ROYAL ALBERT HALL on DVD/Blu-ray - PHANTOM 25 for short - today we are focusing on the multitude of attributes that have made Andrew Lloyd Webber’s unforgettable gothic musical the most successful entertainment of all time, now in its 25th year onstage and about to reach 10,000 performances on Broadway, where it is the reigning longest running show of all time. The gargantuan excitement generated by and the enthusiastic reception enjoyed by PHANTOM for audiences worldwide is unprecedented, yet, the new ultimate presentation of the show - PHANTOM 25 - is even more spectacular and thrilling than any iteration of PHANTOM on any stage or screen thus far. Bringing together the cast of a lifetime with the electricity of a live audience, the HD preservation of THE PHANTOM OF THE OPERA AT THE ROYAL ALBERT HALL is positively peerless in its sleekness, precision and polish of presentation. Never before - not even in the vaunted hands and cords of original show stars Sarah Brightman and Michael Crawford - has the show been this contemporary, sexual and hypnotizing. Ramin Karimloo as the Phantom brings a rawness and austerity to the role that commands attention and Sierra Boggess is, in a word, supreme, as the young ingénue under the Phantom’s watchful musical tutelage. So, too, does Hadley Fraser’s perfectly painted Raoul hit the right mark, as do the rest of the exceptional cast in their commitment to making clear-cut, strong and colorful impressions in their roles. The LED-enhanced set is an imaginative reworking of the designs by Maria Bjornson and the musical staging is smooth and assured thanks to original show choreographer Gillian Lynne. Yet, the star of PHANTOM 25 is, unquestionably, Andrew Lloyd Webber’s rapturous, rich and enveloping score. Bringing together an impressive and inspired assortment of genres in creating the quintessential pop opera, Lloyd Webber employs elements of grand opera, opera bouffe, operetta and musical theatre, as well as incorporates a diverse range of musical styles - even a little heavy metal guitar in the title song, as we shall see (and hear). The score of THE PHANTOM OF THE OPERA is one of Andrew Lloyd Webber’s finest achievements and stands tall alongside his other classic scores for JESUS CHRIST SUPERSTAR, EVITA, CATS, SUNSET BOULEVARD among many other international hit shows. Indeed, the story and score of THE PHANTOM OF THE OPERA is so very complex and decadent as to allow for a continuation of the story, score, characters and overall themes in the form of the new musical, LOVE NEVER DIES, which premiered in a new version in Australia last year and whose story traces the relationship of the Phantom, Christine and Raoul from the end of the original show all the way from Paris to Coney Island ten years later where PHANTASMA is the show everyone must experience thanks to a mysterious figure lurking in the shadows beyond the carousel. In today’s celebration of PHANTOM 25, we will take a look at the original music videos, the legendary Hal Prince production on Broadway and in the West End, the forthcoming LOVE NEVER DIES - coming to Fathom-equipped theaters nationwide later this month - all with a special spotlight on the most phantastic anniversary concert of all time, THE PHANTOM OF THE OPERA AT THE ROYAL ALBERT HALL. (more...)

Forget “Rock Of Ages.” That 21st century musical about the 1980s has nothing on the real thing. “Cats,” the show that set much of the look and tone of musical theater for the next decade or so when it opened in London in 1981 and in New York in 1982 (and began continuous touring in 1984, a record unmatched in theater history) is on display for this week only (sorry, “Now And Forever”) at Chicago’s Cadillac Palace Theatre. Forget “Rock Of Ages.” That 21st century musical about the 1980s has nothing on the real thing. “Cats,” the show that set much of the look and tone of musical theater for the next decade or so when it opened in London in 1981 and in New York in 1982 (and began continuous touring in 1984, a record unmatched in theater history) is on display for this week only (sorry, “Now And Forever”) at Chicago’s Cadillac Palace Theatre. And I, who saw the original Broadway production twice during that heady decade and have not seen the show in any form since then, was eager to go and see what the fuss was, and is, all about. So I went, Tuesday night. If you’ve never seen this show, if you kids have never seen it, or if you want to experience the magic of this unique theatrical masterpiece one more time, then this is a great opportunity to do so, as this is the only remaining North American production to (somewhat) accurately replicate the award-winning, record-setting British musical that took America and the world by storm thirty years ago. This tour of non-Equity performers, with its usual orchestra of five beefed up to eight for a weeklong stand (May 1-6) in a major theatrical market, has enough going for it that I highly recommend it. It’s a little like entering a time machine, and there’s a lot of sleight of hand, but it works. Let me explain. What is “Cats?” Much maligned by insiders, derided as dated by visual artists, underrated by dance teachers and ignored by voice teachers (save for its megahit song, “Memory,” which is heard twice, but never in the sheet music version everything has heard and claims to know), it is in many ways a dichotomy. It’s a dance show (choreography by Gillian Lynne) written by a singer’s songwriter (Andrew Lloyd Webber), as well as a British song cycle based on poems written by a St. Louis-born English poet (T. S. Eliot) who never intended his work (“Old Possum’s Book Of Practical Cats,” and other snippets) to be either musicalized or staged. Its plot, slight though it is, is also the subject of much derision, but to this observer is very reminiscent of “A Chorus Line,” a universally revered work that does include dialogue and more depth of character, but also honors unity of time and place. However, there are indeed works that dispense with plot entirely, and which people unabashedly love (you know, revues--“Ain’t Misbehavin’” comes to mind), and even shows like “Forever Plaid” and Lloyd Webber’s “Starlight Express” feature heaven-going as a climax that is not entirely a surprise. So, enough complaining about there being no dramatic tension, already. But the spectacle! Is it a rock concert with dance, a dance concert with character, a makeup and hair extravaganza with arena-style lighting (still thrilling, the work of David Hersey, as recreated by Rick Belzer), a radio-friendly cast album with a decidedly British keyboard-rock spin, an intellectual set of inscrutable poems with earworm melodies, an environmental theater piece that’s fun for all ages (an unmistakeable set and costume design by the remarkable John Napier)--what exactly is going on? The answer, of course, is all of the above. Oh, and it owes a lot to the English music hall tradition and to contemporary classical music, too, not to mention Puccini. Name another show that encompasses so much. Not to mention that original marketing campaign. Aside from his immature works (the children’s show “Joseph And The Amazing Technicolor Dreamcoat” and others), Lloyd Webber’s previous shows written with Tim Rice (the two nominated for the Best Revival of a Musical Tony Award this year, “Jesus Christ Superstar” and “Evita,”) were both introduced to the world via record albums and marketing campaigns that featured a logo rather than a star name and image. But “Cats” seemed to take that even further, dispensing with the concept album and zeroing in on the show AS the star. Indeed, this show has no leading roles. Really. But who can forget that moon/cats’ eyes/dancer silhouette logo, and the letters of the title in color-coordinated graffiti (echoing the oversized junkyard scene design). It was exciting and revolutionary at the time, and the only shows that have done it better since then (Lloyd Webber’s “The Phantom Of The Opera” and director Trevor Nunn’s “Les Miserables,” all three produced by wunderkind Cameron Mackintosh) are the only ones that have run longer in London and New York, due to the lessons they learned from the feline juggernaut before us now. It was “the birth of the musical spectacular,” as Broadway In Chicago’s promotional materials tell us. This particular edition of the endless “Cats” tour, directed and choreographed by Richard Stafford and featuring mostly young, recent graduates of top U.S. musical theater and dance schools, is indeed “cut down” from the total makeover that the Winter Garden Theatre in New York displayed for the 18 years it played there (1982-2000). But the “Christmas lights” that once ringed the audience do indeed extend past the proscenium arch, and the cast makes several trips out into the aisles, a nice touch. The back wall of the set does not swing down to reveal the ship’s set needed for the “Growltiger’s Last Stand” sequence--they use drops and a false proscenium downstage center here, and I almost liked it better. The set as a whole is not as detailed and certainly not as deep as it once was, but if you haven’t seen the video of the London production, or the show as it played in the early ‘80s, you would be none the wiser. Sound-wise, I have to give credit to sound designer Duncan Robert Edwards, musical supervisor Kristen Blodgette and music director J. Michael Duff. I swear the show sounds better than ever, even with a smaller orchestra than originally employed. And I could understand the lyrics! The costumes and makeup design look simplified to me, though, but again, a newcomer to the proceedings wouldn’t know. And do I care of part of the set is inflatable, as rumor would have it? I don’t care how they get it from city to city, or how quickly they do it, but somebody does care, and they figured out a way to make it work! The floating tire and the thing that comes down from the fly space (spoiler alert?) look great, absolutely. Absolutely. The cast is led by Melissa Grohowski as Grizabella, the role made famous by Elaine Paige and Betty Buckley and carrying with it, shall we say, a certain expectation of a certain money note. Boy, does Ms. Grohowski deliver! Three people stood during the applause for the number. Bravo to Clemmons/Dewing Casting, I say! The two singing roles for the men, Old Deuteronomy and Gus/Growltiger/Bustopher Jones, are essayed here by Nathan Morgan and Christopher E. Sidori, who both acquitted themselves well and were very effective theatrically, whatever their actual ages. Among the dance roles, Daniel J. Self as the narrator Munkustrap, Chris Stevens as Rum Tum Tugger and especially Chaz Wolcott as Mistoffelees were crowd pleasers: Self with his movement detailing, Stevens with his Elvis impersonation and Wolcott with his amazing fouette turns. The cast of two dozen or so performers dances uniformly well, and sings very well, too, save for a few minor quibbles with single lines here. And there or some missing low notes that older performers would probably have no trouble with. But these are easily forgiven. Who cares if the leading lights of Broadway (Harry Groener, Terrence Mann, Anna McNeely and of course Ken Page) have been replaced in these roles by recent graduates of Wright State, SUNY-Purchase and Oklahoma City University? These energetic, disciplined performers are working their tails off (pun intended), singing like people who can’t dance a lick and are basking in the glow of theater history with every city they visit. Yes, the show has moments that seem a little longwinded, and sure, it doesn’t challenge your intellect as much as it challenges your wallet and your caffeine intake (it takes place at night, and everybody is dressed like a cat!). But I challenge you to remain unmoved when Grizabella begs for physical contact, when old Gus relives his moment of youthful theatrical triumph, when assorted junk becomes the train that Skimbleshanks loves, and when the sopranos of the ensemble soar on the words, “’Round the cathedral rang ‘Vivat!” Come on! It’s “Cats.” It’s eye and ear candy galore. I don’t even like cats, but I do like “Cats.” Very much. “Cats” plays this week only, Tuesday night through Sunday night, with additional matinee performances on Saturday and Sunday, at the Cadillac Palace Theatre, 151 W. Randolph Street in Chicago. Tickets are available at all Broadway In Chicago box offices, the Ticket Kiosk at Water Tower Place, all Ticketmaster retail outlets, by phone (800.775.2000) and online at www.BroadwayInChicago.com. Photos: Melissa Grohowski; The Cast (more...)

York Theatre Company (James Morgan, Producing Artistic Director), celebrating the legendary librettist and lyricist Tom Jones with Musicals in Mufti: The Tom Jones Festival, presents the fourth musical in the spring series: Colette Collage, with Book & Lyrics by Tom Jones and Music by Harvey Schmidt. The limited engagement will play 5 performances only now through April 29 at The York Theatre at Saint PeterÂ’s (Citicorp Building, entrance on East 54th Street, just east of Lexington Avenue). BroadwayWorld brings you photos from last night's opening with Christine Andreas, Vanessa Reseland, Jo Ann Cunningham and more below! (more...)

The latest in unauthorized gossip and buzz from the heart of Chicago's showtune video bars, and musical theater news from Chicago to Broadway. The non-Equity Jeff Award nominations, a "Jersey Boys" benefit, "Cats" now and forever, the market for "Motherhood," Roosevelt lands "Lysistrata Jones," and much, much more.... (more...)

CATS is coming to Seattle’s Paramount Theatre for eight performances from April 17 – 22, 2012. Tickets are available on-line at stgpresents.org and tickets.com, by calling 877-STG-4TIX (784-4849) or in person at The Paramount Theatre Box Office (Monday through Friday, 10am to 6pm). (more...)

CATS is coming to Seattle’s Paramount Theatre for eight performances from April 17 – 22, 2012. Tickets are available on-line at stgpresents.org and tickets.com, by calling 877-STG-4TIX (784-4849) or in person at The Paramount Theatre Box Office (Monday through Friday, 10am to 6pm). (more...)

Today we are continuing BroadwayWorldÂ’s exclusive three-part series on SWAN LAKE 3D - an unprecedented movie theater presentation of Matthew BourneÂ’s Tony Award-winning new 3D film adaptation of TchaikovskyÂ’s legendary fairy tale ballet in Fathom-equipped movie theaters for one night only on March 20 - with prima ballerina and Broadway standout star Nina Goldman. (more...)

Broadway In Chicago today announced that individual tickets for CATS, the show that revolutionized musical theatre, go on-sale March 2, 2012 at 10 a.m. CATS will play the Cadillac Palace Theatre (151 West Randolph) for one-week only May 1- May 6, 2012. (more...)

CATS returns to the Orpheum Theater Friday, February 17 through Sunday, February 19 for five performances. CATS is being presented by Omaha Performing Arts and Broadway Across America. (more...)

In celebration of 25 years - a special celebration at the Royal Albert Hall! (more...)

The longest-running show in Broadway history, THE PHANTOM OF THE OPERA, offered its 10,000th performance yesterday at 2 PM as a special benefit for The Actors Fund. (more...)

In honor of this week’s US release of THE PHANTOM OF THE OPERA AT THE ROYAL ALBERT HALL on DVD/Blu-ray - PHANTOM 25 for short - today we are focusing on the multitude of attributes that have made Andrew Lloyd Webber’s unforgettable gothic musical the most successful entertainment of all time, now in its 25th year onstage and about to reach 10,000 performances on Broadway, where it is the reigning longest running show of all time. The gargantuan excitement generated by and the enthusiastic reception enjoyed by PHANTOM for audiences worldwide is unprecedented, yet, the new ultimate presentation of the show - PHANTOM 25 - is even more spectacular and thrilling than any iteration of PHANTOM on any stage or screen thus far. Bringing together the cast of a lifetime with the electricity of a live audience, the HD preservation of THE PHANTOM OF THE OPERA AT THE ROYAL ALBERT HALL is positively peerless in its sleekness, precision and polish of presentation. Never before - not even in the vaunted hands and cords of original show stars Sarah Brightman and Michael Crawford - has the show been this contemporary, sexual and hypnotizing. Ramin Karimloo as the Phantom brings a rawness and austerity to the role that commands attention and Sierra Boggess is, in a word, supreme, as the young ingénue under the Phantom’s watchful musical tutelage. So, too, does Hadley Fraser’s perfectly painted Raoul hit the right mark, as do the rest of the exceptional cast in their commitment to making clear-cut, strong and colorful impressions in their roles. The LED-enhanced set is an imaginative reworking of the designs by Maria Bjornson and the musical staging is smooth and assured thanks to original show choreographer Gillian Lynne. Yet, the star of PHANTOM 25 is, unquestionably, Andrew Lloyd Webber’s rapturous, rich and enveloping score. Bringing together an impressive and inspired assortment of genres in creating the quintessential pop opera, Lloyd Webber employs elements of grand opera, opera bouffe, operetta and musical theatre, as well as incorporates a diverse range of musical styles - even a little heavy metal guitar in the title song, as we shall see (and hear). The score of THE PHANTOM OF THE OPERA is one of Andrew Lloyd Webber’s finest achievements and stands tall alongside his other classic scores for JESUS CHRIST SUPERSTAR, EVITA, CATS, SUNSET BOULEVARD among many other international hit shows. Indeed, the story and score of THE PHANTOM OF THE OPERA is so very complex and decadent as to allow for a continuation of the story, score, characters and overall themes in the form of the new musical, LOVE NEVER DIES, which premiered in a new version in Australia last year and whose story traces the relationship of the Phantom, Christine and Raoul from the end of the original show all the way from Paris to Coney Island ten years later where PHANTASMA is the show everyone must experience thanks to a mysterious figure lurking in the shadows beyond the carousel. In today’s celebration of PHANTOM 25, we will take a look at the original music videos, the legendary Hal Prince production on Broadway and in the West End, the forthcoming LOVE NEVER DIES - coming to Fathom-equipped theaters nationwide later this month - all with a special spotlight on the most phantastic anniversary concert of all time, THE PHANTOM OF THE OPERA AT THE ROYAL ALBERT HALL. (more...)

The show that revolutionized musical theatre is coming to the Van Wezel Performing Arts Hall on Fri. Feb. 10 @ 8 PM, Sat. Feb. 11 @ 8 PM, and NOW JUST ADDED Sat. Feb. 11 @ 2 PM (more...)

This national tour of CATS, playing the Van Wezel on Fri. Feb. 10th @ 8 PM and Sat. Feb 11th @2 PM & 8PM, is the only production in North America sanctioned by Andrew Lloyd Webber. With original direction by Trevor Nunn and choreography by Gillian Lynne, this is the CATS credited with the British invasion of Broadway. (more...)

Today we are fortunate enough to feature an illuminating discussion with the star of PHANTOM OF THE OPERA AT THE ROYAL ALBERT HALL - PHANTOM 25 for short - who is also known for her appearances on Broadway and the West End in shows like THE LITTLE MERMAID, MASTER CLASS and the PHANTOM OF THE OPERA sequel itself, LOVE NEVER DIES - the one and only Sierra Boggess! In this PHANTOM-based conversation, Sierra and I analyze the phenomenal live PHANTOM 25 performance itself - to go along with our pre-performance chat from last year (available here) - and she describes all of the time, talent and art that went into putting it all together in celebration of the showÂ’s 25th year onstage - led by legendary producer Cameron Mackintosh, of course. In addition to a complete performance rundown, we also dissect the character of Christine and the importance of her journey over the course of the musical thriller to its themes of social acceptance, the power of musical performance, and, above all else, love - which, as we know, never dies. Additionally, she shares her ample enthusiasm for the simply tremendous DVD and Blu-ray experience of PHANTOM 25 (also, my SOUND OFF review of the live performance is available here) and details the experience of having now played Christine in three distinctly different PHANTOM-based experiences - PHANTOM in Las Vegas, LOVE NEVER DIES in the West End and PHANTOM OF THE OPERA LIVE AT THE ALBERT HALL. (more...)

This national tour of CATS, playing the Van Wezel on Fri. Feb. 10th @ 8 PM and Sat. Feb 11th @2 PM & 8PM, is the only production in North America sanctioned by Andrew Lloyd Webber. With original direction by Trevor Nunn and choreography by Gillian Lynne, this is the CATS credited with the British invasion of Broadway. (more...)

The show that revolutionized musical theater is coming to Segerstrom Center for the Arts in Orange County for eight performances January 17 - 22. (more...)

The award-winning York Theatre Company (James Morgan- Producing Artistic Director) announced today that West End and Broadway actor Peter Land, recently seen in their Mufti production of Oh, Coward! returns for three Sunday nights in February with his new solo show, Now or Never, an explosion of music and words. Directed by Gillian Lynne, Now or Never will play at The York Theatre at Saint PeterÂ’s on 54th St, just east of Lexington Avenue, on February 12, 19, and 26 at 7:30 p.m. (more...)

The show that revolutionized musical theater is coming to Segerstrom Center for the Arts in Orange County for eight performances January 17 - 22. (more...)

CATS returns to the Orpheum Theater Friday, February 17 through Sunday, February 19 for five performances. CATS is being presented by Omaha Performing Arts and Broadway Across America. (more...)