Phantom of the Opera Sequel on Broadway in 2010

Andrew Lloyd Webber recently announced Sierra Boggess from Broadway's The Little Mermaid will pair with Ramin Karimloo in the musical sequel to The Phantom of the Opera. The new show entitled, Phantom: Love Never Dies, that will hit London and Broadway stages in 2010. The story is based on the book by Ben Elton with songs by Webber and lyrics by Glenn Slater (who wrote songs for Mermaid). In the sequel the Phantom lures a married Christine away from "a broken-down" Raoul to New York City's Coney Island. Christine brings her teenage son, Gustave, with her.

As exciting as this sounds, I think a musical of Phantom's caliber can stand on its own for eternity without need of a sequel. I fear this might dilute some of its greatness.

I just don't think you can top this (video of original phantom cast):

Dance in Musicals: Part 5—The Concept Musical

The History of Dance in Musicals continues...

Michael Bennett started his Broadway career as a chorus dancer. He delved into choreography with five shows, for which he earned Tony nominations: A Joyful Noise (1966); Henry Sweet Henry (1967); Promises, Promises (1968); Coco (1969) and Company (1970). In 1971, he finally won two Tonys for his choreography and co-direction in Follies (1971), a musical about aging performers.

Working with interviews from Broadway chorus dancers, Bennett created a libretto with Nicolas Dante and James Kirkwood to create the concept musical A Chorus Line (1975). Concept musicals were built around an idea rather than a traditional plot. The concept of this musical was based on a Broadway chorus audition, with a director who asks the dancers to share their stories to be hired. The musical featured ensemble numbers with tight formations, kick lines, mirrors and sparking gold costumes. Bennett used “cinematic staging” or “jump-cutting” in his choreography that shifted the audience’s attention from one figure to another. The musical was a success that appealed to all ages and musical tastes, winning nine Tonys and the Pulitzer Prize for Drama (Kenrick, “Michael Bennett's A Chorus Line”).

Dance in Musicals: Part 3—Musicals Head to Hollywood

I'm in the hospital in Florida with my 97-year-old Grandfather. (He should be out of here in the next few days.) While I watch him sleep, I thought I'd add the next post in the Dance in Musicals series.

Part 3: Musicals Head to Hollywood

The 1950s would see more Broadway shows turn into Hollywood musicals. Broadway choreographers received opportunities to recreate their stage dances for the big screen. Such musicals included: Oklahoma, Carousel, The King and I and West Side Story.

Audiences who enjoyed old-fashioned Cinderella-stories were shocked by West Side Story, considered a modern Romeo and Juliet, with juvenile delinquents taking center stage. The plot and song lyrics infuriated some people who felt they reflected poor taste and showed a side of American life considered inappropriate for a musical (Laufe 222). Jerome Robbins proposed the idea for the book, written by Arthur Laurents, and was the show’s choreographer and director. The musical opened in New York in September 1957, with an unhappy ending and little humor. However, even those reviewers who were skeptical about the plot were impressed with Robbins’ choreography. Finger snapping, lurching and leaping were new developments in the theater, which are now common on stage. Robbins expanded upon the athletic capabilities of male dancing first seen in Oklahoma. The choreography propelled the plot forward, some thought more than the score, written by Leonard Bernstein (Laufe 224-226).

In 1964, Robbins was director and choreographer for Fiddler on the Roof, one of his greatest hits. His choreography during the wedding celebration incorporated Jewish cultural traditions, while dancing with wine bottles balancing on their hats. After Fiddler, Robbins concentrated on creating works for the New York City Ballet and other companies (Kenrick, “Who's Who in Musicals”).

Billy Elliot: "The Best Gift from Britain Since Harry Potter" -- New York Post

Bill Elliot opened this weekend on Broadway, after wowing audiences in London. The New York Post says the show is "The Best Gift from Britain Since Harry Potter." Based on the 2000 film, the story examines the life of a young boy growing up in a working-class mining town in England during the 1980s. While his father and brother march to the picket lines for the historic 1984 miners strike, Billy discovers his gift for ballet and secretly begins to study the art. With the help of his liquor loving, chain-smoking dance teacher, Billy's gift blossoms and he aspires to be the first working-class boy to enter into the prestigious Royal Ballet School.

Three young triple threats play the lead role of Billy at alternating performances: David Alvarez (trained at the American Ballet Theatre), Trent Kowalik (the youngest American to win the World Irish Dancing Championship) and Kiril Kulish (prized ballet and ballroom dancer). Learn more about these 13 and 14-year-old budding stars here.

Elton John wrote the score, which should be particularly moving after listening to his work on broadway shows such as The Lion King and Aida. Helping John with the music was Lee Hall who wrote the lyrics. Director Stephen Daldry also directed the film, which was nominated for more than 40 awards worldwide. And Choreographer Peter Darling actually worked on the Lord of The Rings among other works on his extensive resume. 

This show is now on the top of my "must see" list. If you're not convinced that Billy might be worth seeing, check out the links above and below to watch videos and learn more about the musical. 

Watch the video of opening night here.