Enchanted Evenings:The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber by Block, Geoffrey (good story books to read .TXT) 📕

Knapp, The American Musical and the Formation of National Identity (2005) and The American Musical and the Performance of Personal Identity (2006). The seven Sondheim shows are Assassins and Pacific Overtures in the earlier volume and Company, Into the Woods, A Little Night Music, Passion, and Sweeney Todd in the latter.

12. Scott Miller, From “Assassins” to “West Side Story” (Assassins, Company, Into the Woods, Jesus Christ Superstar, Merrily We Roll Along, and Sweeney Todd); Deconstructing Harold Hill (Passion, Sunday in the Park with George); and Rebels with Applause (Anyone Can Whistle).

13. Jessica Sternfeld, The Megamusical. In her “Introduction,” 1–7, Sternfeld presents a useful definition and description of the megamusical. The chapters that follow constitute the most thorough study of the subgenre to date.

14. See, for example, Mark Grant, The Rise and Fall of the Broadway Musical; John Bush Jones, Our Musicals, Ourselves; and Scott McMillin, The Musical Drama.

15. Stephen Citron, Sondheim & Lloyd-Webber. I think it is not inappropriate to mention that some on the Advisory Board seriously questioned whether Lloyd Webber merited inclusion in a series called Yale Broadway Masters.

16. Quoted from Mattheson’s Der Vollkommene Capellmeister (1739) in J. Peter Burkholder, “Borrowing.” In Grove Music Online, Oxford Music Online, www.oxfordmusiconline.com/subscriber/article/grove/music/62918pg15(accessed September 24, 2008). The quote continues: “One must so construct and develop imitations that they are prettier and better than the pieces from which they are derived.”

17. Romberg’s Blossom Time (1921), a huge hit in its day and in many touring productions for decades thereafter, consisted of Romberg’s reworking of recognizable Schubert melodies. Romberg’s reported quip, “Not yet,” at a party in response to whether he had composed Offenbach’s familiar Barcarolle from Les Contes d’Hoffmann which was playing in the background, humorously acknowledges this reputation for musical borrowing.

18. Snelson, Andrew Lloyd Webber, 172.

19. Ibid., 167. Louiguy’s given name was Louis Guglielmi. In 1955 a cha-cha arrangement of “Cherry Pink” by “Mambo King” Pérez Prado was number one on American hit charts for ten consecutive weeks. After “Cherry Pink,” Louiguy’s other mega song hit was “La vie en rose,” composed for French chanteuse Edith Piaf.

20. Ibid., 168.

21. Walsh describes Lloyd Webber’s descending chords as “the spiritual heirs of the first notes” of Vaughan Williams’s symphony while Grant more directly states that the “opening minor-key descending riff in the title tune of Phantom of the Opera is stolen from Vaughan Williams’s London Symphony” (Walsh, Andrew Lloyd Webber, 33; Grant, The Rise and Fall of the Broadway Musical, 33).

22. Citron includes a comparative musical example of “Music of the Night” and “School Days” and Snelson includes the relevant passage of “Recondite armonia” (Citron, Sondheim & Lloyd-Webber, 334–35, and Snelson, Andrew Lloyd Webber, 179).

23. Example 16.2 shows the relevant phrase only in La fanciulla. For an example that includes other “motivic connections” between both La fanciulla and its borrowing in Phantom, see Snelson, Andrew Lloyd Webber, 179.

24. Walsh, “The Curiosity of Cats,” Smithsonian Magazine, October 2007 www.printthis.clickability.com/pt/cpt?actional_cpt&title—The+Curiosity+of+Cat+%7 … In his introduction to his larger study, Andrew Lloyd Webber, Walsh describes the “match” between these phrases of Phantom and Turandot as “obvious” (Walsh, 13).

25. Sternfeld, 87. Sternfeld does address the disparity between people who love and people hate the musicals of Lloyd Webber, and recognizes parallels in reception between the composer of Phantom and the composer of Turandot but reaches different conclusions from those presented here: “It is rare for critics and audiences to disagree so strongly about a composer; interestingly, another of these rare instances concerns reactions to the operas of Giacomo Puccini, whose style Lloyd Webber has admired and occasionally emulated. In fact, critics often complain that Lloyd Webber sounds too much like Puccini, even when the music does not support this, as if they are considering instead reputation and their own role as critics deriding a popular composer” (Ibid., 72).

26. Space prohibits rigorous identification of Lloyd Webber’s borrowings, but I think it is important to note the subtle melodic and harmonic allusions to the finale of Rachmaninoff’s Second Piano Concerto in the very first sounds audiences hear in Sunset Boulevard (which return as the main musical material in the refrain of Max von Mayerling’s homage to the great silent film star Norma Desmond he serves and loves, “The Greatest Star of All”). This is an inspired allusion. Unfortunately, this degree of originality is rare in Phantom and other Lloyd Webber shows.

27. Block, “Integration.”

28. McMillin, The Musical as Drama, 31–53

29. Ibid., 165.

30. Swain, The Broadway Musical, 2nd ed., 315–32 and 385–408.

31. Ibid., 325.

32. Knapp, The American Musical, 2006, 342.

33. The Ultimate Edition, The Phantom of the Opera, Milestone Film and Video, DVD, 2007.

34. Foster Hirsch, Hal Prince, 169.

35. The apt phrase “romantic alternative” was coined by Mel Gussow, “The Phantom’s Many Faces over the Years,” New York Times, January 30, 1988.

36. John Snelson illustrates the whole-tone scale in the “I have brought you” verse (which he labels “Phantom’s Lair theme” [Ex. 4.6]) and reveals how this scale pervades an earlier passage in the coda of “Angel of Music” between Christine and Meg (Ex. 4.5), where Christine explains that “He’s with me even now” (Snelson, Andrew Lloyd Webber, 94–95).

37. From the Sondheim interview in the “Musical Mayhem” special feature in the DVD in which he asserted that the Sweeney film was “an attempt to take the material of the stage musical and completely transform it” and “not a movie of a stage show” (Sondheim, “Interview with Sondheim,” 2007).

38. The film abandons some dialogue and recitative, the reprise of “Notes” in act II, and most lamentably the rehearsal of Don Juan Triumphant, also in act II. Conversely, the film adds numerous underscored scenic visual moments and pantomimed action devoid of either singing or talking. An example of the latter is an intense and prolonged swordfight at the cemetery in which Raoul emerges victorious over the Phantom but spares his life at Christine’s urging. Viewers also watch at some length as Raoul tries to overcome physical obstacles to reach Christine in the Phantom’s lair at the climax of the story.

39. The returns to the 1919