Word: webber
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...cassettes and CDs have been sold. These days, he's so sought after that even Bollywood's deepest pockets are finding it hard to sign Rahman. Last year, he composed the martial score for Chinese director He Ping's Warriors of Heaven and Earth. This week, Andrew Lloyd Webber's musical Bombay Dreams, for which Rahman wrote the music, transfers from London's West End to Broadway. And Rahman is currently writing songs for another big-budget West End production, a musical version of The Lord of the Rings. These projects are forcing Rahman out of his usual milieu...
...Rahman worked with Ratnam on two more movies but by then was already trying to cope with a flood of offers from Bombay, capital of the Hindi film industry. Lloyd Webber heard of him three years ago while dining with Bombay-based director Shekhar Kapur (Elizabeth and Bandit Queen) to discuss a screen version of The Phantom of the Opera. Kapur played a selection of Indian movie music to break the ice. According to Rahman, "Andrew would stop every now and then and ask, 'Who is this composer?' And every time he did that, it was me." Kapur called Rahman...
...musical inspiration. The terminally goofy plastic-surgery movie Vishwavidhaata boasts a ravishing number, Kal Nahin Tha, with the vocalist Sujatha whispering, then warbling her heart out. Taal birthed two instant classics, Ishq Bina and Nahin Samne, both of which Rahman would adopt as signature ballads for Andrew Lloyd Webber's musical Bombay Dreams...
...West End and Broadway musical by Andrew Lloyd Webber and Tim Rice arrived on screen a few months after "Godspell." The first rock opera transferred to the stage, it was calcified in the made-in-Israel film version by Norman Jewison - who, if you're wondering, is not Jewish. Blond-haired, blue-eyed Jesus (Ted Neely) faces off against a black Judas (Carl Anderson). The show had two hit songs, the anthem "Superstar" and the ballad "I Don't Know How to Love Him," but its theatricality got lost out there in the desert...
Toto, we're not in Kansas anymore--or at your usual Broadway musical. Wicked flouts nearly every rule of hitmaking in the post--Andrew Lloyd Webber age. The sets, despite an irrelevant smoke-breathing dragon looming at the top of the curtain, are big but blah. Stephen Schwartz's songs are unmemorable. Splashy, dance-filled production numbers keep threatening to break out but remain elusively somewhere over the rainbow...