Word: phantoms
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Really Useful Holdings has certainly proved useful to tunesmith Andrew Lloyd Webber. Last week he sold a 30% interest in his company to European record giant PolyGram for more than $130 million. The London-based creator of Cats, The Phantom of the Opera, Starlight Express and other theatrical sensations has been criticized for shallowness, but no one questions Lloyd Webber's status as a cash machine. For PolyGram, the investment in Really Useful is the latest step in an aggressive and costly drive to buy up independent entertainment companies, following the acquisition of A&M and Island Records. While...
...economic pressures, however substantial, which seems to have given De Klerk the green light for reforms," says a British official. Laurence Besserman, a Cape Town importer-exporter, puts it in more personal terms: "Even when dealing with old and loyal friends abroad, I always had a sort of Phantom of the Opera feeling. Now we can all come out of the shadows...
Absenteeism. Critics of the Guard have long charged that the ranks of some units have been artificially swollen with "ghosts" -- phantom soldiers who remain on the payroll even though they have missed more than the nine drills allowed by Pentagon regulations. "The Guard has people who show up for two or three drills, and they're never taken off the books," says John Womack, who retired as adjutant general of the Montana National Guard in 1980. "They're kept on the records as long as they can be, so when their strength figures go to Washington, they're still...
...concept of a "mainstream" is a phantom, an artifact of overcategorizing minds. The Tiber as a symbol of aesthetic transmission has been replaced by the Everglades. The idea of the "mainstream" is kept alive by pluralists, rather as Stalin maintained the memory of Trotsky -- as a bogey. But whatever prejudices and illusions "mainstream" thinking once depended on, racism was not among them, and Bearden got left out of the history books because those who wrote them lacked the imagination to find a frame in which to put his work. Such was the fate of the reflective, mildly conservative artist -- which...
Director Nicholas Hytner, in reshaping his London staging to the much smaller Broadway space, made some numbers more intimate but merely cramped others. And even more than in the original version, the show sorely lacks the cinematic fluidity of Les Miserables or The Phantom of the Opera. But Hytner has triumphed at the end, making what used to be an unbearably depressing suicide mercifully less graphic. With set designer John Napier, he has found a less realistic, more suggestive look that better serves the metaphorical layers of this most ambitious musical -- yet is entirely congenial to that helicopter...