- Hardcover: 464 pages
- Publisher: Sinclair Stevenson (2 Aug 2001)
- Language English
- ISBN-10: 1856192733
- ISBN-13: 978-1856192736
- Product Dimensions: 23.4 x 17 x 4.2 cm
- Average Customer Review: 3.0 out of 5 stars See all reviews (4 customer reviews)
- Amazon Bestsellers Rank: 693,144 in Books (See Top 100 in Books)
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Product Description
Book Description
Fascinating, lively and in-depth study of two giants of the modern musical - both the men and their work.
Product Description
In this fascinating dual biography the eminent musicologist Stephen Citron takes 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 trace, through their works and those of their contemporaries, the path of and changes to the musical as an artform.Citron offers a unique insight into each artist's working methods, analysing their scores - including their early works and works-in-progress. As with Citron's other critically-acclaimed books - lives of Noel Coward, Cole Porter and Oscar Hammerstein - significance is given to the impact that their yourthful training and private lives have had upon their amazing creative output. Beginning with Sondheim's lyrics-only works, such as West Side Story and Gypsy through his scores for Company, A Little Night Music, Sweeney Todd, Sunday in the Park and Passion, all these milestones of musical theatre are explored. Lloyd-Webber's musical contribution, from his early work The Likes of Us to Jesus Christ Superstar, Evita, Cats, The Phantom of the Opera, to Whistle Down the Wind is also thoroughly analysed.Sondheim & Lloyd-Webber is essential reading for anyone interested in the contemporary theatre. (20000914)
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First Sentence
CHANGES IN MUSICAL THEATER evolve so slowly that one is reminded of an old garment district story. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index
CHANGES IN MUSICAL THEATER evolve so slowly that one is reminded of an old garment district story. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index
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Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Format:Hardcover
A fascinating look at two modern giants of the musical stage - their biographies, their working methods, their successes, their flops.
Sondheim and Lloyd Webber have much in common - a shared birthday for a start (22 March, 18 years separating). Both revolutionized the musical - extending the boundaries, breaking the rules. Both owe much to Rodgers and Hammerstein. Lloyd Webber is unstinting in his praise of their work. Sondheim's link is more personal. His mother was hateful ("the only regret I have in life is giving you birth"), he glad to leave her. Hammerstein virtually became his father, helping to steer him towards all he achieved. (Sondheim was later disenchanted with Rodgers, working with him on "Do I Hear a Waltz?" an unhappy experience.) Both owe much to enlightened directors and producers, especially Hal Prince and Cameron Mackintosh. (The two hilariously and self-mockingly sing the latter's praises in "Hey, Mr. Producer!")
Sondheim is one of that rare breed, composer/lyricist - a step taken when disappointed how his lyrics for "West Side Story" and "Gypsy" were completely overshadowed by the praise lavished on the music by Bernstein and Styne. He aims for "truth", the results often revered by the critics who applaud the ingenuity and inventiveness, the public frequently a little bemused by revolutionary new concepts. Unashamedly Lloyd Webber aims primarily to entertain - critics often sneering, but audiences generally more appreciative.
The book goes into much detail. Whether you dip into it or read it all the way through, one thing is for sure: you will find many fine anecdotes and much of interest. Surprises too. How many knew Sondheim once attempted a musical about "Mary Poppins"!
Recommended.
Sondheim and Lloyd Webber have much in common - a shared birthday for a start (22 March, 18 years separating). Both revolutionized the musical - extending the boundaries, breaking the rules. Both owe much to Rodgers and Hammerstein. Lloyd Webber is unstinting in his praise of their work. Sondheim's link is more personal. His mother was hateful ("the only regret I have in life is giving you birth"), he glad to leave her. Hammerstein virtually became his father, helping to steer him towards all he achieved. (Sondheim was later disenchanted with Rodgers, working with him on "Do I Hear a Waltz?" an unhappy experience.) Both owe much to enlightened directors and producers, especially Hal Prince and Cameron Mackintosh. (The two hilariously and self-mockingly sing the latter's praises in "Hey, Mr. Producer!")
Sondheim is one of that rare breed, composer/lyricist - a step taken when disappointed how his lyrics for "West Side Story" and "Gypsy" were completely overshadowed by the praise lavished on the music by Bernstein and Styne. He aims for "truth", the results often revered by the critics who applaud the ingenuity and inventiveness, the public frequently a little bemused by revolutionary new concepts. Unashamedly Lloyd Webber aims primarily to entertain - critics often sneering, but audiences generally more appreciative.
The book goes into much detail. Whether you dip into it or read it all the way through, one thing is for sure: you will find many fine anecdotes and much of interest. Surprises too. How many knew Sondheim once attempted a musical about "Mary Poppins"!
Recommended.
4 of 5 people found the following review helpful
Format:Hardcover
I was very disappointed by this book. It seemed to so often miss the point that the two composers were trying to make. It failed to really compare their work or even their contribution to the form in any other than simplistic terms.
It was also full of inaccuracies about the shows that were really unforgivable.
3 of 4 people found the following review helpful
Format:Hardcover
What an amazing book! A must-read for all true fans of musical theatre. Despite the fact that I've never seen a book with so many words on a page (it's slow reading) I hate to part with the book. Initially I borrowed it from a library but just had to buy a copy as I feel it's been part of my life.
Citron takes us back to where both Lloyd Webber and Sondheim were borns and we follow their inter-twined stories right up to the start of the 21st century. At first you may think it confusing to switch from the life of one great to another but it works, so captivating is each story. With detailed footnotes and a fantastic chronology of the works of both it is the ultimate reference source - aided by the photographs appropriately interspersed with text and not located in a central section hundreds of pages away from the relevant text.
Absolutely a must-have for any theatre lover and certainly on my desert island list!
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