Reflection or Curiosity?

Many, many months back, whats seems like nearly a lifetime ago, we had to write about something in three different writing styles. If you remember my chosen subject was Andrew LLoyd Webber's Phantom of the Opera. My academic piece touched on Phantom's sequel Love Never Dies and if a sequel would ruin Phantoms reputation?

Well, as it was something I was genuinely interested in, I have took upon myself to continue and complete what I started by reading some reviews of the sequel to possibly summarise the publics thoughts.

I personally haven't seen it as time is always against me, however I would love to hear from anyone who has seen it to share your views.

Love Never Dies, The Papers v The Fans

So what did the papers say?

There is no doubt that Love Never Dies seems like a relic of another age. Gloomy-doomy, largely through-sung musicals like this have in recent years been superseded in public affection by a welcome return to musical comedy in such shows as Hairspray, Sister Act and the latest hit, Legally Blonde. In the midst of a recession, will audiences fork out top dollar for two-and-a half hours of dark Gothic imaginings, seething passion, and in the final scene, sudden violent death?

I haven’t got the answer to that, and only time will tell. What I have no doubt about whatever is that this is Lloyd Webber’s finest show since the original Phantom, with a score blessed with superbly haunting melodies and a yearning romanticism that sent shivers racing down my spine.

Charles Spencer from the Telegraph 9th March 2010

There is much to enjoy in Andrew Lloyd Webber's new musical. The score is one of the composer's most seductive. Bob Crowley's design and Jack O'Brien's direction have a beautiful kaleidoscopic fluidity. And the performances are good. The problems lie within the book, chiefly credited to Lloyd Webber himself and Ben Elton, which lacks the weight to support the imaginative superstructure.

In short, the show has much to commend it and the staging is a constant source of iridescent pleasure. But, as one of the lyrics reminds us, "diamonds never sparkle bright unless they are set just right". Although Lloyd Webber's score is full of gems, in the end a musical is only as good as its book. With a libretto to match the melodies, this might have been a stunner rather than simply a good night out.

Michael Billington from The guardian 10th March 2010

Love may never die but West End shows will come perilously close to disaster unless they have some oompf and bongo — and preferably a decent tune — in the first 15 minutes.

Love Never Dies, Andrew Lloyd Webber’s sequel to Phantom Of The Opera, is as slow to motor as a lawnmower at spring’s first cut.

It doesn’t really smoke into life until the 20th minute and even then it splutters for a while. Finally, the singing and the ingenious staging combine to show the Lloyd Webber orchestration to its full glory, but, boy, it takes an age.

Quentin Letts from The Daily Mail 10th March 2010

So what did the fans say?

http://www.loveneverdies.com/members-area/phan-reviews/

What do you think?

Academic Writing Style draft 3

Could a sequel potentially ruin the reputation of the longest running musical on Broadway?

“Phantom of the Opera is based on a 1911 novel, Le Fantome de l'Opera, written by French author Gaston Leroux. Leroux based the novel on his own research into strange events that occurred at the Paris Opera House in the 1880s. Though the novel was not widely read or well reviewed in its own time, the adaptation of Phantom to both screen and stage has familiarised the public with this haunting love story” (Anon, By eHow Contributing Writer)


It is believed that reliable facts and figures from (The Really Useful Group LTD) shows that "It is estimated that Phantom has been seen by more than 100 million people worldwide having been played in no fewer than 14 languages. The show has won over 50 major theatre awards including three Olivier Awards, the most recent being the 2002 Oliver Audience Award for Most Popular Show, an Evening Standard Award, seven Tony Awards including Best Musical, seven Drama Desk Awards and three Outer Critic Circle Awards".

Andrew Lloyd Webber (1948) one of the wealthiest and most successful composers today, yet again the man behind the most successful musical in history and “The Oscar-winning composer of some of the most successful British musicals of all time” (Kunal and Peck 2009)

Phantoms success is yet to be topped, but for how long now that the landmark musical is faced by its sequel “Love never dies” which opens at the Adelphi Theatre on 9th March 2010.
The production is set 10 years from Phantom and far away from the Paris Opera House, Christine and Raoul are now in living in Coney Island where Webber based the story on all of the original characters after taking some advice from Ben Elton (1959).

Sequels have played an important part in the history of Hollywood during their Golden Age in the 1930's. Broadway however has had less luck. It is apparent that successful plays and musicals have often spawned unsuccessful sequels.

“In a move that some theatre experts have described as "risky". Lloyd Webber will also attempt to make history by staging the first successful sequel to a musical anywhere in the world. All previous bids to repeat the triumph of original productions have failed miserably” (Nikkhah 2009)


Maybe the sequel will celebrate the life and success of Phantom and only time will tell, and with Phantoms track record we could be in for the long, however, it could be hard to convince you that this time a sequel will actually be successful after reading “Much of the chatter I've been hearing about Love Never Dies seems to be assuming that the show will be a guaranteed disaster, a bad idea from its very conception. Part of this comes from the fact that no musical sequel has ever been successful Let 'Em Eat Cake (sequel to Of Thee I Sing), Bring Back Birdie (Bye Bye Birdie), Annie Warbucks (Annie), Divorce Me, Darling (The Boy Friend), The Best Little Whorehouse Goes Public (The Best Little Whorehouse in Texas) Well, that doesn't mean that no musical sequel could ever be successful, just that it hasn't happened yet” (Caggiano, 2009) Enough to argue that this sequel isn’t what the public are craving?

“Musical sequels are a very risky business. The 1960 smash Bye Bye Birdie was a thinly veiled satire of Elvis Presley. It ran for 607 performances. In 1981 the creative team behind the show produced a sequel called Bring Back Birdie. Nobody wanted him back, and the musical folded after four performances” (Botto, 2006)

So enough said? Made your mind up yet? It could be decided that there are a lot of sequels on record that have failed to be successful, so you can understand the negative critism towards “Love never Dies”. In a recent online video Andrew Lloyd Webber admits to saying that “Love Never Dies has been in the making for seventeen years” and that “The story of Christine and the Phantom didn’t really end” (The Really Useful Group LTD, 2009). Let’s not forget, this has been in the making for seventeen years and Webber has proved to be more than capable of producing fantastic, successful musicals. Maybe this time it will change the opinions of audiences worldwide and be the only successful sequel in Broadway history.



References

1) Anon, eHow Contributing Writer http://www.ehow.co.uk/about_4569129_facts-phantom-opera.html?cr=1 [accessed 24th November 2009]

2) The Really Useful Group Limited, http://www.thephantomoftheopera.com/ [accessed 26th November 2009]

3) Kunal, D, and Peck, T, 2009, “I have cancer says Lloyd Webber”, The Independent, [online] 26 October, Available from http://www.independent.co.uk/news/people/news/i-have-cancer-says-lloyd-webber-1809423.html [accessed 24th November 2009]

4) Nikkhah, R, 2009, “Andrew Lloyd Webber attempts to make history with Phantom of the Opera sequel” The Telegraph [online], 04 October, available from http://www.telegraph.co.uk/culture/theatre/theatre-news/6257769/Andrew-Lloyd-Webber-attempts-to-make-history-with-Phantom-of-the-Opera-sequel.html [accessed date 25th November 2009]

5) Chris Caggiano,
http://ccaggiano.typepad.com/everything_i_know_i_learn/2009/05/phantom-sequel-to-have-march-2010-premiere-.html [accessed 17th December 2009]

6) Louis Botto, http://www.playbill.com/features/article/101485-The-Broadway-Sequel [accessed 16th December 2009]

7) The Really Useful Group LTD, http://www.loveneverdies.com/?video=lnd-launch-edit#video [accessed 15th October 2009]

Reflection on Writing Task Draft Copies

I have now posted my draft copies of my three writing styles and have started to receive a few comments which I am hoping over the next couple of days will develop into conversations where I will welcome plenty of positive and constructive critism. I have taken some time to reflect upon Task D and have realised that I actually don’t find having to do lots of written work as monotonous as I thought. I say this because my role as a teacher doesn’t involve much if any written work, certainly not to the extent of what I have had to produce for my degree with Middlesex.

Personally I think that my marketing piece is written well and I stuck to my guns about not writing too after research from Michael Cohn stated “Keep the language simple and direct, Buzzwords and jargon can turn people off. Always try to speak plainly about what you are marketing. If some technical vocabulary is necessary, make sure that the terms are explained and examples are given. No matter how sophisticated the readers are, they will become impatient with text that does not get to the core message quickly and efficiently” http://biznik.com/articles/marketing-writing-how-to-maximize-its-effectiveness . I understand that some people may disagree hence why I will be interested to read what people think.

I must articulate that I found the descriptive writing the least challenging as I have always found this style of writing easier to generate. I was often capable of descriptive writing at school as writing stories and poems was something I was gifted at. I think I have a creative imagination and this helps me immensely in the classroom when I am teaching dance as my choreography is frequently about telling a story or portraying an emotion.

My least favorite example of writing is the academic style as I am out of practice and it has been a long while since I have written a form of essay with quotations and research back-up. It did take me the longer to write this style and do welcome all critism as I do feel this is a weaker area for me. I have followed my guide to referencing my quotes the “Harvard” way and feel that my question “Phantom of the opera the current longest running musical on Broadway, will a sequel ruin its reputation?” is relevant and already in discussion.

I have also give thought to Task E and I have commented on many peoples blogs with positive and constructive feedback which I hope helps people deliver excellent final copies of Task D. I also feel that this is really important as it’s a task where I ask myself “is this right?”, “Is this the best it can be?” I can only move forward with my writing styles if people comment and I find this hard as I feel my work is dependant upon someone else because I have delivered the best I can at this stage. I understand the importance of this task and I understand how feedback is important as a teacher to give and receive.

I look forward to reading your comments and they will go to great use helping me with final copies of my writing styles.

Writing Style 2

Andrew Lloyd Webber's breathtaking musicalisation of the Gaston Leroux novel won the 1988 Tony Award for Best Musical Phantom of the Opera, which is now in its twenty first year on Broadway and is still as poignant as ever. This romantic musical masterpiece celebrates life beneath the stage of the Paris Opera House where the frightening and intimidating Phantom reigns.

As you walk in this most prestigious Majestic Theatre you can’t help notice the significant chandelier, the most spectacular detail of hundreds of shiny swarovski crystals and glass that sparkles right at you.

The Phantom of the opera a disfigured musical genius passes his time terrorizing the members of the Opera house and haunts the members of the audience sending a chill around the theatre that you can feel running down your spine. Although hideously deformed, and a fearsome cold character the Phantom possesses a rich, smooth velvety voice that draws you in and you almost have to pinch yourself to remember how wicked he really is. He falls in love with a chorus girl Christine. His voice calls to her, nurturing her and the incredibly moving and powerful music they perform together is infectious.

You find yourself singing along, drawing tears and feel the goose bumps surprise your skin throughout the entire performance. This extraordinary talent of Christine’s voice and beautiful appearance is mesmerising, she has the true voice of an angel.

The stunningly designed stage and gorgeous period costumes make you feel like your really an audience of the opera house and as the Masquerade forms on the grand foyer the gold, white, black and silver palate of colours combined with the dazzling diamonds just like those of the chandelier sparkle as they catch the lights on the stage draws you in. Then in a jealous rage the Phantom sets the stage for a dramatic crescendo.

He has fallen in love with Christine who only has eyes for Raoul in which his soaring passions, fierce jealousies, and obsessive love threaten to drive the fated lovers past “the point of no return”. The Phantom sends the beautiful shiny crystal set piece crashing down towards the audience. The fear rushes straight through you as the lights dim and flash, in slow motion you see it falling towards you and as you hold your breath waiting to hear it crash to the floor witnessing the crystals burst into the air and leaving the scent of burning glass around you, you open your eyes, and its there, rocking above you. This breathtaking theatrical effect has enthralled audiences across generations.

As you have learned to love Christine because her voice and character make you feel at home the furious Phantom lures her to a creepy colorless place, she takes a voyage on a gondola guided by the Phantom and you can feel the icy atmosphere around you, the smell in the air changes and leaves that chill on your spine again as he takes her through a series of locks that then reveals this dingy, gloomy looking grotto shaped like a harbor where he threatens to make her his forever.

Both romantic and scary, The Phantom of the Opera is a thrilling night of theater with grand emotions that you will only experience watching it before your very eyes.

Writing Style 1

Phantom of the opera the current longest running musical on Broadway, is it ready for the final curtain?


Winner of seven Tony Awards, including Best Musical, The Cameron Mackintosh/Really Useful Theatre Company and Andrew Lloyd Webber's masterwork is a timeless story of seduction and despair. Set at the Paris opera house, a beautiful soprano Christine becomes the obsession of a mysterious, disfigured musical genius.

The Phantom of the Opera had its first preview on the 27th September 1986, and then officially opened at Her Majesty's Theatre in London on the 9th October of the same year, starring Michael Crawford as the Phantom.

Based on the book by Gaston Leroux in 1911 and directed by Harold Prince, Phantom later opened on Broadway on January 26th 1988 and played its 6,000th Broadway performance on June 13 2002, and you can’t help wonder if Phantom is ready for the real final curtain?

Well according to the musical's website, it has been seen in 124 cities in 25 countries and played to over 100 million people, not to mention total worldwide box office takings of over £3.5bn ($5.1bn). Phantom is the highest-grossing entertainment event of all time, enough evidence to say that the romance and the fright continues to attract audiences worldwide.

Go and see for yourself and take a trip to the prestigious Majestic Theatre on Broadway and see how this landmark musical production is holding up after almost fourteen and a half years, “That’s all I ask of you”.


247 West 44th Street
Running time: 2 hours 30 minutes with one 15 minute intermission
Schedule: Monday through Saturday at 8 PM. Wednesday and Saturday at 2 PM

People I Admire-Gillian Lynne

Gillian Lynne, Dancer, Choreographer and Director

If you don’t know who she is then I’ll give you 9 lives…I mean guesses! Character Christine, a mask and a rather big chandelier?
You guessed yet?

Yes she choreographed the iconic musicals CATS and The Phantom of the Opera which is the current longest running show in Broadway history and I was lucky enough to watch Phantom on Broadway in New York in 2006.


Gillian Lynne was born in Bromley, Kent, England, and was a precocious dance talent from an early age, teaming with her childhood friend Beryl Grey while still at school, and dancing to blot out the tragedy of the violent death (in a car crash) of her mother on 8 July 1939 in Coventry, when Lynne was just 13 years old.

Lynne's gift for dancing was discovered by a doctor. Lynne had been underperforming at school, so her mother took her to the doctor and explained about her fidgeting and lack of focus. After hearing everything her mother said, the doctor told Lynne that he needed to talk to her mother privately for a moment. He turned on the radio and walked out. He then encouraged her mother to look at Lynne, who was dancing to the radio. The doctor noted that she was a dancer, and encouraged Lynne's mother to take her to dance school.

I simply admire all of her work, there are many productions that she has choreographed however Cats is my most favorite musical of all, and I thought that how she portrayed the real movements of cats and captured them in her choreography was outstanding.
Both Cats and Phantom received well deserved Tony Awards for best Musicals and Oliver Awards for Gillian Lynne’s extremely creative choreography. In 1997 Gillian later received a CBE.

In her long career as a choreographer and director, she has worked on many productions including those from the Royal Opera House, Royal Shakespeare Company and English National Opera as well as many West End and Broadway shows. In 2002 she choreographed the Sherman Brothers' film musical, Chitty Chitty Bang Bang for the stage. It played in London, and later on Broadway in 2005, both times successfully. Chitty Chitty Bang Bang brought Lynne back to the London Palladium.
She has become a major success in the musical industry and is a tribute to dancers.

Information www.gillianlynne.com
Here is a video of a Cats Documentary choreographed by Gillian Lynne