input: On 5 September 2000, Def Leppard were inducted into the Rock Walk of Fame on Hollywood's Sunset Boulevard by their friend Brian May of Queen. In 2001, VH1 produced and aired Hysteria - The Def Leppard Story, a biopic that included Anthony Michael Hall as Mutt Lange and Amber Valletta as Lorelei Shellist (Steve Clark's girlfriend). The docudrama covered the band's history between 1977 through 1986, recounting the trials and triumphs of Rick Allen and Steve Clark. 18 July broadcast still produced some of the channel's highest-ever ratings and is available on DVD. Def Leppard's tenth album, X, saw the band's musical direction moving more towards pop and further away from the band's hard rock roots. X quickly disappeared from the charts, ultimately becoming the band's least successful release. However, the accompanying tour played to the band's strongest audiences since Adrenalize. An expanded and updated best-of collection, Best Of, was released internationally in October 2004. The North America-only version, Rock of Ages - The Definitive Collection, was released the following May. Def Leppard participated at the Live 8 show in Philadelphia and toured in the summer with Bryan Adams. In 2005, the band left their longtime management team, Q-Prime, and signed with HK Management. On 23 May 2006, Def Leppard released an all-covers album titled Yeah!. The disc pays homage to classic rock songs of their childhood, originally recorded by Blondie, The Kinks, Sweet, ELO, and Badfinger among others. It debuted at No. 16 in the US, their tenth consecutive Top 20 album. The band, along with Queen, Kiss, and Judas Priest, were the inaugural inductees of VH1 Rock Honors on 31 May 2006. During the show, The All-American Rejects paid homage to the band with a cover of "Photograph". Soon afterwards, they embarked on a US tour with Journey. That October, Hysteria was re-released in a two-disc deluxe edition format, which combined the original remastered album with b-sides, remixes, and bonus tracks from single releases. Def Leppard began their "Downstage Thrust Tour", on 27 June, which took them across the US and into Canada. Support bands were Foreigner and Styx.

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input: I'm going to shatter some illusions, it was just one of those pieces I wrote for the album: just writing my batch of songs. In its early stages I almost rejected it, but then it grew. We started deciding on a single about halfway through. There were a few contenders - we were thinking of "The Prophet's Song" at one point - but then "Bohemian Rhapsody" seemed the one. There was a time when the others wanted to chop it around a bit, but I refused. If it was going to be released, it would be in its entirety. We knew it was very risky, but we had so much confidence in that song - I did anyway. I felt, underneath it all, that if it was successful it would earn a lot of respect. People were all going, You're joking, they'll never play it, you'll only hear the first few bars and then they'll fade it out. We had numerous rows. EMI were shocked - a six-minute single? You must be joking! The same in America - oh, you just got away with it in Britain. When we finished the album, the Night at the Opera album, that was the track on it that we thought we were gonna release as a single in the UK first. And when we released it in Britain we didn't necessarily think it'd be released in America, cause we know even over here, you know, the AM tastes are even more [hesitates] stricter. Anyway we did have thoughts about even in the UK, perhaps editing it down at all, but we listened to it over and over again and there was no way we could edit it. We tried a few ideas, but if you edited it, you always lost some part of the song, so we had to leave it all in. And luckily it took off anyway. The vocal harmonies was something we wanted to do from the beginning, as we are always keen to do that kind of thing. We wanted to be a group that could do the heaviness of hard rock, but also have harmonies swooping around all over the place. We thought there was some real power and emotion in that combination. The guitar solo was pretty much off the cuff, except I think I had plenty of time to think about that one. I remember playing along with it in the studio for a while when other things were being done. I knew what kind of melody I wanted to play.

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input: In 1878, Irving entered into a partnership with actress Ellen Terry and re-opened the Lyceum under his own management. With Terry as Ophelia and Portia, he revived Hamlet and produced The Merchant of Venice (1879). His Shylock was as much discussed as his Hamlet had been, the dignity with which he invested the vengeful Jewish merchant marking a departure from the traditional interpretation of the role. After the production of Tennyson's The Cup and revivals of Othello (in which Irving played Iago to Edwin Booth's title character) and Romeo and Juliet, there began a period at the Lyceum which had a potent effect on the English stage. Much Ado about Nothing (1882) was followed by Twelfth Night (1884); an adaptation of Goldsmith's Vicar of Wakefield by W. G. Wills (1885); Faust (1886); Macbeth (1888, with incidental music by Arthur Sullivan); The Dead Heart, by Watts Phillips (1889); Ravenswood by Herman, and Merivales' dramatic version of Scott's Bride of Lammermoor (1890). Portrayals in 1892 of the characters of Wolsey in Henry VIII and of the title character in King Lear were followed in 1893 by a performance of Becket in Tennyson's play of the same name. During these years, too, Irving, with the whole Lyceum company, paid several successful visits to the United States and Canada, which were repeated in succeeding years. As Terry aged, there seemed to be fewer opportunities for her in his company; that was one reason she eventually left, moving on into less steady but nonetheless beloved stage work, including solo performances of Shakespeare's women.

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output:
In 1878, Irving entered into a partnership with actress Ellen Terry and re-opened the Lyceum under his own management.