All tagged The Phantom of the Opera
This week I was thinking about a holiday special that ran on Britain’s ITV that captured the beauty and spectacle of musical theatre in the late 1980s. Save the Children was the name of the program, and the piece was created as a benefit for the Save the Children Foundation, an organization dedicated to make the lives better for children the world over. It brought together the stars and casts of the West End and Broadway musicals that were the hits of the day, and, with the performers in costume and playing on the impressive sets of their respective shows, they sang beloved Christmas carols with a splendor and glory that stuck with this Broadway enthusiast for three decades.
To start, this article has no intention of being serious. I was just sitting in my car musing about how you could take two Broadway shows and splice them together into one evening of entertainment. This would certainly cut back on my ticket expenditures and double the amount of Broadway musical viewing I can afford each year. So, strap on your sense of humor, get in the mood for corny ridiculousness, and see how I mashed-up Broadway musicals currently running (or set to open) on the Great White Way.
Halloween is just around the “coroner” to quote the Addams Family lyric you’ll encounter later in this playlist and I thought it would be fun to assemble a musical theatre playlist that embraced all things wicked and wonderful. Maybe this group of musical ditties will help put you in the mood for ghosts, goblins, and treak-or-treat.
The new book Sense of Occasion by theatrical director and producer Harold Prince is a memoir wherein he explores his vast career in theatre starting with The Pajama Game and then brings us up to date with his plans for the future. It is a curious book. For the first half, it is a reprint of Prince’s 1974 biography Contradictions: Notes on Twenty-Six Years in the Theatre, with a page or two at the end of each chapter adding additional reflections and making new observations that only time and distance can make space for. The second half is a continuation of Prince’s story, walking us through all his productions post Candide (1974), giving most of the shows in that section the similar treatment of telling us how they came to fruition. More exciting than the fascinating history itself are Prince’s candid observations and assessments of his own work. He is his own worst critic, but he is also a conscientious man who takes his obligations to artists and audiences seriously.
