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With such material, who could go wrong? Probably lots of people, but Webber and Rice are not among them. They have not aimed so high as they did in their later Jesus Christ Superstar or Evita, but compared with those hits Joseph is better rounded, more buoyant and totally unpretentious. Despite its several transformations and elongations, it retains the child like wonder that it must have had when it was performed by children...

Author: /time Magazine | Title: Theater: In the Beginning | 12/7/1981 | See Source »

...septameter that served lyricists from Gilbert to Kipling to Lear. The challenge to Lloyd Webber was to compose a score that did not sound like outtakes from The Pirates of Penzance. Because of this metrical restriction, Lloyd Webber could not have matched the profligate melodiousness of his score for Evita if he had tried. He has not; he works mostly in the loud Europop vein, hurling his listeners up against the caterwaul...

Author: /time Magazine | Title: Theater: Going to London to See the Queen? | 6/22/1981 | See Source »

...penned a splendid processional, all pomp and circumference, for Brian Blessed as Old Deuteronomy, the group's sage and patriarch. For Elaine Paige, who was the original West End Evita and here plays a tattered cat of the evening named Grizabella, Lloyd Webber wrote the show's first hit single, a melancholy bolero called Memory...

Author: /time Magazine | Title: Theater: Going to London to See the Queen? | 6/22/1981 | See Source »

...contrast, love objects in Argentina run more toward postimpressionist paintings from pricey Buenos Aires galleries like Wildenstein, or jewelry selected by government officials for their wives from a famed jewelry shop like Ricciardi, a favorite haunt of the late Evita Peron. Those bills too, of course, are paid by the deal-hungry businessmen...

Author: /time Magazine | Title: Big Profits in Big Bribery | 3/16/1981 | See Source »

Faye Dunaway, the Evita of this four-hour TV movie, has the cool, carnivorous intelligence needed to play a dictator's doxy. When the material is tepid, she puts a fire under it to make it percolate. When given a strong scene, like the dying Evita's farewell radio address, she can key several moods - weariness, coquetry, defiance - while providing the scene with a swift climactic kick. But Writer Ronald Harwood and Director Marvin Chomsky allow too much of Evita Perón to glide by on casters; and James Farentino, as Perón, looks and acts...

Author: /time Magazine | Title: Television: All About Eva | 2/23/1981 | See Source »

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