Lloyd Webber

Very rare Phantom Of The Opera related M&M's ceramic mug

Very rare Wicked related M&M's ceramic mug

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The year is 1907. It is 10 years after the Phantom's disappearance from the Paris Opera House. He has escaped to a new life in New York where he lives amongst the screaming joy rides and freak-shows of Coney Island. In this new electrically-charged world, he has finally found a place for his music to soar. All that is missing is his love - Christine Daa‚. Now one of the world's finest sopranos, Christine is struggling in an ailing marriage to Raoul. So, it is with excitement she accepts an invitation to travel to New York and perform at a renowned opera house. In a final bid to win back her love, the Phantom lures Christine, her husband, and their young son Gustave from Manhattan, to the glittering and glorious world of Coney Island... not knowing what is in store for them.

Let the spectacle astound you!   In celebration of the 25th Anniversary of Andrew Lloyd Webber's The Phantom of the Opera, Cameron Mackintosh produced a unique, spectacular staging of the musical on a scale which had never been seen before. Inspired by the original staging by Hal Prince and Gillian Lynne, this lavish, fully-staged production set in the sumptuous Victorian splendor of London's legendary Royal Albert Hall features a cast and orchestra of over 200, plus some very special guest appearances. Starring: Ramin Karimloo, Sierra Boggess, Hadley Fraser, Wendy Ferguson, Barry James, Gareth Snook, Liz Robertson, Wynne Evans, Sergei Polunin Directed by: Nick Morris

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Following the successful 1998 video release of Cats comes another Andrew Lloyd Webber blockbuster musical, Joseph and the Amazing Technicolor Dreamcoat, and it's a savvy choice. It hasn't been represented on film before, it's short enough (78 minutes) to present without cuts, and it has the star power of former teen icon Donny Osmond, who played over 1,800 performances across North America. Rather than record a live performance, Cats director David Mallet conceived Joseph as a film, though one that is based strongly on codirector Steven Pimlott's 1991 London revival and relies more on camerawork than venturing beyond its stagelike sets. Lloyd Webber's first project with lyricist Tim Rice was originally written in 1968 as a school cantata; accordingly, this film uses a framing sequence of a school recital, with an audience of clapping, singing kids and members of the faculty playing the roles. The Old Testament tale of Joseph and his coat of many colors gets a splashy, vigorous treatment with an energetic cast, Las Vegas-style glitz, and catchy, eclectic songs, including "Any Dream Will Do," "Close Every Door," the peppy "Go, Go, Go Joseph," and various bits of country, calypso, and Elvis. Osmond is perfect in the title role, with a strong voice and winning persona, while London stage veteran Maria Friedman performs well in the central role of the narrator. Richard Attenborough appears (and sings a little) as Jacob, and Joan Collins makes a brief, nonsinging cameo. Joseph certainly isn't revolutionary musical theater, but if you view it as a kids' show, it's a silly good time (though there are poignant moments too). Parents should note, however, that this production might warrant a little discretion due to one suggestive scene and some risqué costumes. --David Horiuchi

This pop-cultural phenomenon has been performed on stage for more than 50 million patrons in 26 countries for almost 18 years, churning more than $2 billion in ticket sales. Now that Cats has finally made it to the small screen, attention must be paid not just by fans of this critic-proof show, but also by those entertainment mavens who have somehow avoided Cats until now. The video version has been restaged but, alas, not really reconceived for its new medium. The video cast, assembled from London, Amsterdam, and New York productions, is competent. Ken Page as Old Deuteronomy, Jacob Brent as Mr. Mistoffelees, and Elaine Paige--the original London Grizabella, the Glamour Cat well past her prime--are a great deal more than that. Paige has toned down her theatrical belting of her big number, "Memory," and allowed the faded ruin of her character's soul to prevail in close-up. For all the "covers" of her signature song, Paige's version remains definitive. The video is, by definition, more intimate, not always a good thing: costumes are even more Halloweeny in garish close-up, the cats less cuddly without that all-important interaction, the stage's appropriately midnight lighting transmuted to a Las Vegas neon. And the chorus of cats in production numbers is even clunkier and more amorphous in two- and three-shots. The one complete newcomer to the cast is the 90-year-old icon among English actors John Mills, a delight as Gus the Theatrical Cat. Sir John and his character show the youngsters how it's done in close-up, largely behind the eyes, abetted by a heart-tugging delivery of his one song. Yet virtually all of the songs are lip-synched, further robbing the video Cats of its onstage seeming spontaneity. It's clearer than ever that Lloyd Webber's music is mostly twaddle, with the important exception of "Memory," which instantly and rightly became one of the genuine theater standards not dependent on context, in the vein of Stephen Sondheim's "Send in the Clowns." On the plus side, most of the Cats characters and lyrics, from T.S. Eliot's 14-poem Old Possum's Book of Practical Cats, are far better defined and understood from the video version. --Robert Windeler

This pop-cultural phenomenon has been performed on stage for more than 50 million patrons in 26 countries for almost 18 years, churning more than $2 billion in ticket sales. Now that Cats has finally made it to the small screen, attention must be paid not just by fans of this critic-proof show, but also by those entertainment mavens who have somehow avoided Cats until now. The video version has been restaged but, alas, not really reconceived for its new medium. The video cast, assembled from London, Amsterdam, and New York productions, is competent. Ken Page as Old Deuteronomy, Jacob Brent as Mr. Mistoffelees, and Elaine Paige--the original London Grizabella, the Glamour Cat well past her prime--are a great deal more than that. Paige has toned down her theatrical belting of her big number, "Memory," and allowed the faded ruin of her character's soul to prevail in close-up. For all the "covers" of her signature song, Paige's version remains definitive. The video is, by definition, more intimate, not always a good thing: costumes are even more Halloweeny in garish close-up, the cats less cuddly without that all-important interaction, the stage's appropriately midnight lighting transmuted to a Las Vegas neon. And the chorus of cats in production numbers is even clunkier and more amorphous in two- and three-shots. The one complete newcomer to the cast is the 90-year-old icon among English actors John Mills, a delight as Gus the Theatrical Cat. Sir John and his character show the youngsters how it's done in close-up, largely behind the eyes, abetted by a heart-tugging delivery of his one song. Yet virtually all of the songs are lip-synched, further robbing the video Cats of its onstage seeming spontaneity. It's clearer than ever that Lloyd Webber's music is mostly twaddle, with the important exception of "Memory," which instantly and rightly became one of the genuine theater standards not dependent on context, in the vein of Stephen Sondheim's "Send in the Clowns." On the plus side, most of the Cats characters and lyrics, from T.S. Eliot's 14-poem Old Possum's Book of Practical Cats, are far better defined and understood from the video version. --Robert Windeler

The year is 1907. It is 10 years after the Phantom's disappearance from the Paris Opera House. He has escaped to a new life in New York where he lives amongst the screaming joy rides and freak-shows of Coney Island. In this new electrically-charged world, he has finally found a place for his music to soar. All that is missing is his love - Christine Daa‚. Now one of the world's finest sopranos, Christine is struggling in an ailing marriage to Raoul. So, it is with excitement she accepts an invitation to travel to New York and perform at a renowned opera house. In a final bid to win back her love, the Phantom lures Christine, her husband, and their young son Gustave from Manhattan, to the glittering and glorious world of Coney Island... not knowing what is in store for them.

In celebration of the 25th Anniversary of Andrew Lloyd Webber's The Phantom of the Opera, Cameron Mackintosh produced a unique, spectacular staging of the musical on a scale which had never been seen before.  Inspired by the original staging by Hal Prince and Gillian Lynne, this lavish, fully-staged production set in the sumptuous Victorian splendour of London's legendary Royal Albert Hall features a cast and orchestra of over 200, plus some very special guest appearances. Starring: Ramin Karimloo, Sierra Boggess, Hadley Fraser, Wendy Ferguson, Barry James, Gareth Snook, Liz Robertson, Wynne Evans, Sergei Polunin Directed by: Nick Morris

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