Word: lloyds
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Dates: during 1980-1989
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...most of its history, TIME has had only two drama critics: Louis Kronenberger (1938-61) and T.E. (Ted) Kalem (1961-85), who died of cancer this summer. Their successor is Associate Editor William A. Henry III, who this week inaugurates the new theater season with his reviews of Andrew Lloyd Webber's Song & Dance and Athol Fugard's The Blood Knot. Henry also wrote a critique on the "Festival of India," a series of events in the U.S. celebrating that ancient civilization's arts and culture...
...most rewarding thing in show business is to become a brand name, presold to audiences, like Agatha Christie or Neil Simon. Andrew Lloyd Webber may be headed toward that status as composer of such glossy, high-energy musicals as Jesus Christ Superstar, Evita, Cats and Starlight Express. Lloyd Webber has mastered the trick of seeming to juggle big ideas while actually asking little of his audience beyond a pleasant passing of time...
Thus he can shape a whole evening about Evita Peron that ducks the moral dimensions of fascism and can adapt poems by T.S. Eliot without tackling any metaphysical notion more complicated than an escalator ride into the clouds. No celestial choirs appear to sing in Lloyd Webber's ears, no muse or demon seems to haunt him, and his concoctions cannot bear close logical inspection. But he can beguile even sophisticated viewers into believing for the moment that they are witnessing highflying...
...Lloyd Webber's Song & Dance, which opened on Broadway last week, the structure as usual looks ambitious but the execution is sweet and simple. The opening half is a solo song cycle about a young Englishwoman (Bernadette Peters) who comes to the U.S. to pursue romance, glamour and a hard-nosed career as a hat designer. At first she is abused by men who exploit her, or treat her as another expensive toy, or shy away from commitment. Then she treats a man that way, condemns herself for it and vows to recapture her lost innocence...
...second half is an almost entirely wordless dance ensemble piece set to Lloyd Webber's Variations, based on Paganini's A minor Caprice. One of the unseen characters in the first half, the young woman's nearest approximation to a true love (Christopher d'Amboise), prowls his way through the fleshly entertainments of Manhattan, only to decide he is ready to settle down, whereupon the young woman reappears to accept his offer. Like the woman, the young man is an outsider: as his trademark red jacket proclaims, he is from Nebraska. Like her, he is dazzled by bright lights...