Andrew Lloyd Webber, Michael Dixon, John Mauceri, Anthony Bowles, Simon Lee, Harry Rabinowitz, Lorin Maazel, Michael Reed, Paul Bogaev, Chris Nightingale, David Caddick, David White, SÃ®an Edwards, London Philharmonic Orchestra, BBC Concert Orchestra, Welsh National Opera Orchestra, Various Artists, Sounds of Blackness, Sarah Brightman, PlÃ¡cido Domingo, Ian Gillan, Yvonne Elliman, Murray Head, Steve Balsamo, Antonio Banderas, Elaine Paige, Joss Ackland, Barbara Dickson, Julie Covington, Patti LuPone, Mandy Patinkin, Susan Jane Tanner, Paul Nicholas, Marti Webb, Caron Cardelle, Samantha Lane, Reva Rice, Lon Satton, Ray Shell, Michael Crawford, Steve Barton, Michael Ball, Ann Crumb, Diana Morrison, Kevin Colson, Jason Donovan, Maria Friedman, Donny Osmond, Richard Attenborough, John Scher, Donna Stephenson, Steven Pacey, Glenn Close, Alan Campbell, James Graeme, Lottie Mayor, Marcus Lovett, Hannah Waddingham, David Shannon, Josie Walker, David Essex, Betty Buckley,

 Steve Harley, Cliff Richard, JosÃ© Carreras, Barbra Streisand, Petula Clark, Madonna, Tina Arena, Boyzone, Tom Jones, Boy George, Charlotte Church, Sacha Distel, Tim Rice, Maynard Williams, Elvis Presley, Tony Christie, Andrew Lloyd Webber, Gemma Craven - Andrew Lloyd Webber: Now & Forever - Amazon.com Music By Jacob A.

Davis on February 17, 2002 Format: Audio CD|Verified Purchase This box set could very well be the only Andrew Lloyd Webber collection someone would ever need. Of course, if you don't know much about Andrew Lloyd Webber's music, you probably wouldn't want to spend over sixty dollars on a box set. On the other hand, if you are a true Lloyd-Webber fan, then this is probably not the only one of his recordings you have, either. Anyhow, this box set contains the highlights of his greatest work performed by the people who (arguably) performed the songs best. Most Lloyd-Webber fans will have the majority of the songs on the first three CDs (with the possible exception of American fans perhaps not having those from The Beautiful Game). However, these all of these tracks have been newly digitally remastered and sound better than ever. There are also other perks for us all-time buffs.

Disc 4 has many famous cover versions and singles, some of which you may already have, but you also get the bonuses on this disc of Kiri Te Kanawa's "The Heart is Slow to Learn" (which was originally going to be part of a sequel to Phantom) and the Metal Philharmonic Orchestra's breathtaking rendition of "A Kiss is A Terrible Thing To Waste" (featuring vocalist "Scarpia"). You will have chills for days after that one. Finally, there is the famous disc 5! Tracks never before realeased on CD for many of us to enjoy for the first time. This CD takes us back to the roots of ALW's music and lets us taste a few of the early moments of his career. It includes many singles for several well-known artist that didn't quite work out. It even includes the song written by Lloyd-Webber for his 1992 wedding. This is the most treasured disc of the whole set, in my opinion. Of course, this whole set is a treasure (even the extravegant and informative booklet in the box) and I highly reccomend this to anyone with a passion for Lord Lloyd-Webber's music.

By Marijan Bosnar on March 20, 2005 Format: Audio CD|Verified Purchase Regardless of the fact that some of his latest efforts (most notably, The Woman in White) are disappointing, there can be little doubt that Andrew Lloyd Webber is one of the greatest composers ever to work in the musical theatre. Ever since his "Jesus Christ Superstar" hit the stage in the early 70-is, it was clear that the conception and perception of musicals are never going to be the same again. Many of his songs became standards not only in the theatre history, but also as tops on the charts. Even though he's British, his influence on the shape of the modern musical theatre expanded over the West End boundaries long ago and has thus made an enormous impact on Broadway. Two of his shows ("Cats" and "The phantom of the opera") hold the record as two the longest running shows in the history of Broadway. He has also been the only composer to have three of his shows running at Broadway concurrently. Some of his awards include three Grammies, a Golden Globe, an Oscar and a bunch of Tony awards.

But perhaps most of all, Lloyd Webber is responsible for bringing the musicals and the theatre appealing to the wide audiences, who in different circumstances would not consider seeing a musical. The secret of his success is probably the mixture of beautiful and catchy melodies, interesting subject matter (though some, like Starlight Express, are too thin) and grandiose staging. Over the years many compilations of his work have emerged. In the late 80-is and early 90-is it was the "Encore" series and lately the one-disc collection called "Gold". The one in question here can be considered one of the best currently on the market. First, it includes a 3-disc selections from all of his shows, minus the latest one, i.e., "The Woman in White", which, considering the triviality of the score, is no great lost. The fourth disc covers some of his most known songs sung by the famous artists. Then, there is the fifth disc with previously unreleased material, most of which are the songs ALW wrote with Tim Rice for various artists during the 70-is.

The disks are all neatly packed in a hardcover book that features 67 pages of pictures and text with information about each of ALW's shows. One of the other assets here is the perfect sound quality, since all of the tracks have been digitally remastered. Here are my basic impressions and comments regarding the material on the discs: * Disc #1 has the selections from "Jesus Christ Superstar", "Evita", "Cats" and "Song & Dance". The Superstar material mostly comes from the Concept Recording. Although the songs sound beautiful as always, their orchestration is a bit dated now. Only Steve Balsamo's "Gethsemane" from the 1996 revival cast has a modern rock sound. "Evita" comes with the material from all of the major recordings: London, Broadway and the movie productions, as well as the Concept album. No objections here; since this is one of ALW's most satisfying works, every song is just perfect, although Patti LuPone, the Broadway and overall the best Evita, is left with only a couple of lines. With the selections from "Cats", however, I have some doubts.

A plus to the choice of the "Jellicle ball" impressive orchestral sequence from the 1998 movie version and "Mister Mistoffelees" from the 1981 London cast. One of the best known ALW's songs, "Memory", also comes from that album. It's a pretty version and Elaine Paige's rendition cannot be matched, but why include this when the definite version, featuring an 80-piece orchestra and Elaine Paige with much better interpretation, can be found in the same movie version. Thusly, one has to buy Elaine Paige's latest 2-disc compilation "Centre Stage: The very best of Elaine Paige" to get that one. And "Gus the theatre cat" is more a recital than a song, so there was not much point in including that. Marti Webb brings her vocal charm to the "Song & Dance" sequence, Sarah Brightman sings "Unexpected song" with her famous soprano, but as much as I like her version, Bernadette Peters, who was in this show on Broadway is strangely left out here. * Disc # 2 starts with "Starlight Express".

This was never one of my favorite ALW's shows; the plot is even lighter than in "Cats" and the 1984 original cast recording is terribly dated. Yet, here we have one terrific duet, "I am starlight" from the original together with three songs from the later revivals and it seems that fresh orchestrations were just the thing Starlight needed. My favorite remains a touchy ballad, "Next time you fall in love". "Requiem" is the most solemn of all ALW's compositions, written in 1985 to commemorate the death of his father. Placido Domingo's tenor rides together with the chorus all the way through the strong "Hosanna", only to be joined by Sarah Brightman in the final moments of this song. She then gives an echoing deliverance of "Pie Jesu". What can be said of ALW's next show, "The Phantom of the Opera"? A phenomenon in its own right, it's easy to see from the six numbers included here why this is one of the best and most beloved musicals of all time. The cast, the music, the story - everything is perfect.

Although "Aspects of love" was never a popular hit, it does have some of the most beautiful love melodies ALW has ever written. "Love changes everything" sung by Michael Ball is probably one of the best tunes ever about love. The rest of the selected material here has a dreamy love flavor and the melodies find their way into your brain in the best Lloyd Webber way. * ALW's first musical, "Joseph and the amazing Technicolor dreamcoat" was more successful in its revival form than the original from the 70-is. The three songs included here are sung by the show stars, Jason Donovan and Donny Osmond. Maria Friedman was not a lucky choice to play the narrator, as the track from the 1998 movie version shows. "By Jeeves" was ALW's only big flop when it came to the stage in the 70-is. The 1995 revival sounds much better though, full of funny numbers in the best manner of the musical comedy. "Travel hopefully" remains one of the show's highlights on this compilation. "Sunset Boulevard" comes next. "Sunset" remains for me one of Webber's best scores; lush and beautiful.

I listen to the original cast recording with Patti LuPone all the time. However, here most of the songs are performed by Glenn Close. A big mistake. If you've ever listened the American premiere recording with her, you'll know what I am talking about. She may have a strong stage presence, but her vocal abilities are too limited, and her aggressive approach to the role lacks any subtlety. Therefore, the two big numbers from this show, "With one look" and "As if we never said goodbye" are ruined by the fact she can't sing. The same goes for the American Joe Gillis, who was played by Alan Campbell. Luckily, Patti LuPone and Kevin Anderson, the original Norma and Joe from the London production, make their brief entrance here with the "Perfect year"; enough to show how better they are. The funny thing is, on the jacket and inside of it, Glenn Close and Alan Campbell are credited as performers in this song as well. If this was a mistake on ALW's part, it was a good one. The next ALW's show, "Whistle down the wind" was never a critic's dear and yet the audiences rushed in to see it in London.

The score brings back ALW to his rock and roll roots of the seventies and the story is quite interesting. But the selections here are not the happiest, since the cast recording boasts with much better songs. And finally, "The Beautiful Game". Again, we have one of those ALW's shows that is worth in its individual parts rather than as a whole. "Our kind of love" and "Let us love in peace" are two catchy ballads. The latter is a nice amalgam version not available elsewhere. The two other tracks here I could live without. * Disc # 4 has the songs from all the above shows performed by different artists. The assembled tracks have their pros and cons. For example, we have some previously unreleased stuff, like Dame Kiri Te Kanawa's operettic rendition of "The heart is slow to learn", or a stunning and epic "A kiss is a terrible thing to waste" from "Whistle down the wind", performed by The Metal Philharmonic Orchestra. Then again, what was the point in including almost identical tracks as the ones on the previous disks?

So we have Michael Ball again singing "Love changes everything" with only a bit different orchestration; Sarah Brightman comes out again with the same Phantom duets, but only with the different male singers. It would be much more appropriate to include tracks from the Toronto Cast of the Phantom, with Colm Wilkinson. Other pop deliverances (Tina Arena's "Whistle down the wind", Barbra Streisand's "As if we never said goodbye", Boyzone's "No matter what" and many more) were wisely chosen. Patti LuPone is again nowhere to be found and Petula Clark's "With one look" sounds too worn-out. * The last disc is probably the one that will be of most interest to Lloyd Webber aficionados. It consists of entirely previously unreleased material ALW for the most part wrote for various artists during his early years, with Tim Rice. Some of these tunes, not successful as a singles, were later used in his shows. Thus "Down thru' summer" became "Buenos Aires"in Evita, "Try it and see", an unsuccessful attempt for the Eurovision was used for "King Herod's song" in "Superstar" and so on.

Some of these songs are nicely made pop songs: "Make believe love", ALW's first recorded composition, for which he provided the lyrics; "Goodbye Seattle", sung by Paul Raven, who later became Gary Glitter; "Come back Richard, your country needs you", from a never made musical, sung here by Tim Rice, or Latin flavored "Magdalena", with Tony Christie singing. My all time favorite here is a song called "It's easy for you", sung by none other than Elvis Presley himself. Lloyd Webber and Rice sent him a demo recording that he accepted and recorded this live version a couple of weeks before he died. It's amazing to hear how his voice remained in the perfect shape. Also, there is a track of Andrew Lloyd Webber singing "Policle dogs and Jellicle cats" while plying the piano. His voice doesn't sound bad at all. Taken as a whole, this compilation makes a perfect birthday or Christmas present to any fan of Andrew Lloyd Webber shows, or just anybody interested in some of the best tunes from the modern era of the musical theatre; despite the flaws I mentioned above. To the former, it may just be the final addition for the Andrew Lloyd Webber collection.

By David Brian on November 20, 2001 Format: Audio CD I was waiting for this cd for a long time, and I wasn't disappointed. It carries some of the best recordings of all of ALW's best songs. The most fascinating part of this collection is the rarities included on the last CD. It includes some of his most famous songs, before they were in their final form. Other songs included in this collection of rarities are songs that were recorded and never released in any way shape or form, until now. Another great part of this collection is the fourth cd. It includes all of the songs that have reached the tops of the charts. All by some of the greatest artists of the late 20th century, such as Elvis, Barbara Striesand, Madonna, Petula Clark, and more! The only disappointment there is with this collection is that there are still many great recordings of ALW's that weren't included. You'll have to look in other places for those.

Even so, it is the best compilation of one of the worlds greatest composers Now and Forever: The Music of Andrew Lloyd Webber, With Linda Balgord, Opens at Chicago's Marriott Theatre | Playbill Now and Forever: The Music of Andrew Lloyd Webber, With Linda Balgord, Opens at Chicago's Marriott Theatre By Kenneth Jones Jan 23, 2013 The world premiere of Marriott Theatre's Now and Forever, a theatrical exploration of the lush songs of composer Andrew Lloyd Webber — featuring Linda Balgord, a veteran of Cats, Sunset Boulevard and Aspects of Love — opens Jan. 23 following previews from Jan. 16 in suburban Chicago. Susan Moniz Photo by Peter Coombs and The Marriott Theatre Marriott's Terry James (executive producer), Aaron Thielen (lead artistic director) and Andy Hite (artistic director) are behind the new creation, running to March 17 in Lincolnshire, IL. Chicago theatre veteran Marc Robin, a multiple Jeff Award winner, directs and choreographs the show, which has a full title of Now and Forever: The Music of Andrew Lloyd Webber .

("Now and Forever," you might recall, was the advertising tagline for the long-running London and Broadway productions of Lloyd Webber's Cats .) The show features lyrics and/or text by Don Black , Christopher Hampton , Charles Hart , Trevor Nunn (after T.S. Eliot ), Tim Rice , Glenn Slater , Richard Stilgoe and David Zippel, with contributions by Amy Powers, from Evita , Cats, Jesus Christ Superstar , Whistle Down the Wind, Joseph and the Amazing Technicolor Dreamcoat, Starlight Express , Sunset Boulevard and its sequel Love Never Dies. Now and Forever is co-created by Marriott Theatre lead artistic director and Jeff Award winner Thielen and 16-time Jeff Award winner Robin. They are the co-creators of the award-winning musical All Night Strut, A Fascinatin' Rhythm. Music supervisor and conductor is Patti Garwood. Musical director is Ryan T. Nelson. The Marriott Theatre's orchestrator and arranger, David Seigel, has orchestrated all of the music for Now and Forever. Read the Playbill feature about Marriott's passion to create the new show with the cooperation of the Really Useful Group and the Rodgers and Hammerstein Organization.

Balgord, recently of Broadway's La Cage aux Folles and The Pirate Queen, has long been linked to Lloyd Webber musicals, having played Grizabella in the original Broadway production of Cats; Norma Desmond in the national tour of Sunset Boulevard ; and Rose Vibert in the U.S. national tour of director Robin Phillips ' Aspects of Love.

Jameson Cooper Photo by Peter Coombs and The Marriott Theatre The cast also includes Erin Stewart ( A Little Night Music on Broadway); Susan Moniz (Marriott's Kismet, Broadway's Grease ); Stephanie Binetti (Marriott's White Christmas , national tour of Mamma Mia!); Catherine Lord (Marriott's 42nd Street ); Max Quinlan (25th anniversary national tour of Les Miserables, Marriott's The Light in the Piazza ); Ben Jacoby (Maine State Music Theatre's The Light in the Piazza); Brian Bohr (Joseph in Marriott's Joseph and the Amazing Technicolor Dreamcoat); Travis Taylor (Marriott's Pirates of Penzance); Jameson Cooper (Marriott's Hero, Legally Blonde, For the Boys) and Matt Raftery (a veteran actor/director/choreographer of more than 20 productions at Marriott Theatre, plus Broadway and touring productions). The show's co-choreographers are Harrison McEldowney (Hubbard Street Dance Chicago, River North Dance Chicago, Dance Works) and Raftery (Marriott's Guys and Dolls ).

The Now and Forever dancers are Lauren Blane, Michael Darnell, Ellen Green, Monique Haley, Raymond Interior, Luke Manley, Sam Rogers and Melissa Zaremba. The production team includes Tom Ryan (set designer), Nancy Missimi (costume designer), Diane Williams (lighting designer), Bob Gilmartin (sound designer). For more information, visit MarriottTheatre.com . Linda Balgord, Matt Raftery and Susan Moniz Premiere Now and Forever: The Music of Andrew Lloyd Webber Linda Balgord, Matt Raftery and Susan Moniz Premiere Now and Forever: The Music of Andrew Lloyd Webber The world premiere of Marriott Theatre's Now and Forever, a theatrical exploration of the songs of composer Andrew Lloyd Webber featuring Linda Balgord, began Jan. 16 in suburban Chicago. Read the Playbill.com story. 51 PHOTOS Now And Forever, The Music of Andrew Lloyd Webber - Marriott Theatre In Lincolnshire - Chicago Now And Forever, The Music of Andrew Lloyd Webber Marriott Theatre In Lincolnshire 10 Marriott Drive Lincolnshire The shows of Andrew Lloyd Webber are theatrical treasuresï¿½his music legendary. The Marriott Theatre has been given the honor of creating this premiere presentation.

A cast of incredible singers, dancers, and choreographers will bring you highlights from EVITA, CATS, JESUS CHRIST SUPERSTAR, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, STARLIGHT EXPRESS, SUNSET BOULEVARD, the most anticipated sequel in Broadway history, LOVE NEVER DIES, and its predecessor, PHANTOM OF THE OPERA, the worldï¿½s most successful musical. Thru - Mar 17, 2013 Now And Forever, The Music of Andrew Lloyd Webber Reviews Average Rating based on 9 reviews Highly Recommended Not Recommended Chicago Tribune - Recommended "... The Marriott has invested heavily in a top-drawer, New York- and Chicago-based cast (this is no small revue; the cast numbers 19). The night, gorgeously costumed by Nancy Missimi, is headlined by Linda Balgord, a veteran Lloyd Webber interpreter (I remember seeing her years ago in "Sunset Boulevard" at the Civic Opera House) whose work has only grown better with age.

Balgord's unimpeachable bona fides ï¿½ supported by the gorgeously voiced Erin Stewart, another stellar ALW vet, the Chicago star Susan Moniz and Max Quinlan (fresh from touring with "Les Miz") ï¿½ anchor this show. One really doesn't get much of a chance to see the old-school likes of Balgord in an era when so many Broadway tours are non-Equity. Her technique is exquisite and her "Memory" is as fine a "Memory" as you ever will hear." Chris Jones Chicago Sun Times - Highly Recommended "...Created by Marc Robin (the director-choreographer who has amassed 16 Jeff Awards), and the Marriottï¿½s lead artistic director, Aaron Thielen ï¿½ with elaborate and varied dance interludes choreographed by Robin, Harrison McEldowney and Matt Raftery ï¿½ the show, which features a cast of 18, thrives on a ï¿½Can you top this?ï¿½ aesthetic.

And each time you think there is nowhere else to go it pulls out another stop." Hedy Weiss Time Out Chicago - Recommended "...The deeper cuts and greater arc make less of an impression, unlike in the Mercury Theaterï¿½s current scaled-down Rodgers and Hammerstein revue A Grand Night for Singing or last seasonï¿½s Sondheim collection Putting It Together at Porchlight. Robinï¿½s choreography (with contributions from Hubbard Street Dance Chicagoï¿½s Harrison McEldowney and Marriott regular Matt Raftery) is visually intricate but feels a little shoehorned without context. Still, neither of these quibbles significantly detracts from some spectacular fan service." Dan Jakes ShowBizChicago - Highly Recommended "... Done in a concert format, with a large number of dance pieces included, director Marc Robin brings together a sensational cast of actors, singers and dancers to interpret Webberï¿½s numbers to glorious new heights. Lead by one of my all time favorite divas, Linda Balgord, who has a long association with Mr.

Webberï¿½s shows, the songs that have become standards in our modern day marketplace are performed with an energetic verve and authenticity that will make the composer proud." Michael Roberts ChicagoCritic - Highly Recommended "...Patti Garwoodï¿½s eleven musician did justice to ALWï¿½s music. This is the finest sounding orchestra Iï¿½ve ever heard at Marriott Theatre. Nancy Massimiï¿½s costumes were terrific and Diane Ferry Williamsï¿½ lighting was spectacular. Kudos to Aaron Thielen and Marc Robin for creating such a slick, polished and passionate tribute to Andrew Lloyd Webberï¿½s songbook. This wonderful show will surly become a standard revue to be payed out in theatres everywhere. It shows why ALW has brought more patrons into the theatre than any other modern composer/producer. Donï¿½t miss this gem.

Marc Robin and the creatives at Marriott Theatre, once again, prove that they are astute musical theatre artists skilled in the creation and execution of wonderful theatre." Tom Williams Around The Town Chicago - Highly Recommended "...The theater was offered a song list to select from by the Webber people and made a selection that will have you singing all the way home ( and even later) after leaving the theater. The theater then selected none other than Marc Robin to put the show together and as director and choreographer ( with the use of two other choreographers to truly sparkle the dance portion of the show ,Matt Raftery and Harrison McEldowney) he has a reiue that would be classified as "very special" and a once in a lifetime opportunity to set the stage for theater companies to have a special work to do in years to come." Alan Bresloff Chicago Theatre Review - Highly Recommended "...For an enchantingly sublime evening of song and dance, full of grandeur, grace and power that will entertain, inspire and leave you wanting more, head north to Lincolnshire.

This celebration of all things Andrew Lloyd Webber is pure magic." Colin Douglas Chicagoland Theater Reviews - Highly Recommended "...The choreography is the work of Robin, Harrison McEldowney, and Matt Raftery. They work with a chorus of four men and four women who executive ballet, Broadway, and tap dance with grace and athleticism. Most of the dances are taken from "Song & Dance" and serve as interludes between the songs. But there are impressive ensemble production numbers, like a powerful and vibrant selection from "Superstar."" Now and Forever: The Andrew Lloyd Webber Box Set - Andrew Lloyd Webber | Songs, Reviews, Credits | AllMusic Now and Forever: The Andrew Lloyd Webber Box Set AllMusic Rating google+ AllMusic Review by AllMusic Released in 2001, this formidable five-disc box set presents a very thorough overview of the many musicals of British composer Andrew Lloyd Webber.

In addition to performances from the definitive versions of his most beloved productions (JESUS CHRIST SUPERSTAR, CATS, THE PHANTOM OF THE OPERA, etc.), the collection also includes a disc of Webber tunes performed by pop artists such as Barbra Streisand (the stirring "As If We Never Said Goodbye") and Boyzone (the emotive "No Matter What") and a disc of rarities, making it essential for Webber completists. Track Listing - Disc 1 Andrew Lloyd Webber and His Cats Cast Reflect on Opening Night | Playbill Andrew Lloyd Webber and His Cats Cast Reflect on Opening Night By Harry Haun Aug 01, 2016 Inside the opening night performance and festivities with the composer and cast of the anticipated revival of the record-breaking classic. Joseph Marzullo/WENN Don’t look now, but it’s Now and Forever again. The second of Cats’ nine lives began July 31—this time at the Neil Simon , since composer Andrew Lloyd Webber has turned the former haunt of his alleycats, the Winter Garden, into a School of Rock.

The first time around, the so-billed “Now and Forever Musical” lingered there for 18 years, exiting after 7,485 performances as Broadway’s longest-running hit, a record Lord Lloyd Webber has subsequently trounced with The Phantom of the Opera (11,862 performances, as of yesterday). The Playbill that marked the show’s departure on September 10, 2000 carried its legendary logo—two piercing cat eyes, but with a tear rolling out of the right eye. At the curtain call, the composer mustered a sunny, funny and, as it turns out, prophetic goodbye. “Tonight,” he announced, “is, in fact, the last night of Cats’ first life on Broadway.” Those eyes—yellow and penetrating as ever in the darkness—are the first thing you see as Cats comes back to life and Broadway, blinking here and there onstage, in the aisles and gradually all over the house. First-nighters, suspecting a hit, purred contentedly.

Lloyd Webber—a determinedly casual lord going for the everyman look (coatless, tieless, open-collared)—entered stage right and added a touch of reality to the evening with a sad little postscript: “As all of you know,” the composer said, “one of theatre’s dearest friends—and one of my dearest friends—passed away this week or, to be more precise, entered a new Jellicle life. On the behalf of this wonderful company and the incredible creative team who’ve worked so hard on my show, all of us would like to dedicate this production to the great Jimmy Nederlander.” James L. Nederlander produced the revival with The Shubert Organization , (an unseen) Cameron Mackintosh and Lloyd Webber’s own Really Useful Group—plus a posse of presenters ( Roy Furman , John Gore, Stella La Rue, Grove Entertainment, Burnt Umber Productions, Independent Presenters Network and Peter May). The lavish after-party, held at stately Gotham Hall, was crowded and festive, but Lloyd Webber negotiated his way through it visibly relaxed and unusually accessible for one of his opening nights.

“I can sit back and say ‘I’m the composer, and I liked it,’” he beamed. But he can only relax so much. “As much as I enjoy producing, I’ve really got to get back to my day job—which is to try and write a new musical.” Good ideas are hard to come by. Setting T.S. Eliot’s Old Possum’s Book of Practical Cats to music was his son’s brainstorm. “He’s 23 years old and has never seen Cats. “I really can’t overstress that it’s T.S. Eliot’s words. That and the fact it’s a very theatrical piece really make the show timeless and make it work. I hadn’t seen it for two weeks, so I’ve come back to see how it had settled. What I was first struck by is that there is much more character, I think, in the dancing. It’s more grounded. I think the dance has brought much, much more character than it had five years ago.” That newly Tony-ed Hamiltonian, Andy Blankenbuehler , was hired to “tweak” the original choreography of Gillian Lynne—very much over her vociferous objections.

(Check out that tension on Playbill’s title page for the show. You can detect the stress in the stretch of letters where both artists are accorded a full line of type.) Inside the Playbill - Cats 2016 The last line on the title page is a carryover from the original production: Director Trevor Nunn . He was missing in the opening-night action and said to be in Vienna, having moved on to his next production, supposedly a Stephen Schwartz show. A staple at the Royal Shakespeare Company who had never directed a musical until he took on Cats in 1981 (talk about a life-changer!), Nunn won one of the show’s seven Tonys—and deserves custody of the Tony posthumously awarded to Eliot’s lyrics. The director always demurs. “T.S. Eliot was the greatest English and American poet of the 20th century. [His] doodlings formed the basis for this show, and [he] was my unwitting collaborator in writing the words to ‘Memory.’ Probably, he’d have been unwilling if he had been around.” Oh, well, there are the royalties . . .

At the show’s Broadway closing, Nunn confessed that he had supreme, unshakable confidence in the show right up until May 10, 1981, the night before Cats premiered in London, and the terrible thought occurred to him, “What if they don’t get it at all?” Lloyd Webber well-remembers that terror: “The idea of doing a musical with human beings as cats was considered to be absolutely crazy. Everybody thought we were mad. We opened with most of the investment missing. I put a second mortgage on my house. Nobody thought this show could work at all. It sold out for months by the time we got to New York, but in London we were considered to be off our heads.” The only other lord on the premises was the ancient patriarch who lorded over the cat litter—Broadway’s original Old Deuteronomy—Ken Page. He came in for the occasion from St. Louis where he’s rehearsing Elton John’s Aida with Michelle Williams and Patrick Cassidy.

“My producers were kind enough to let me off to come up and see this,” he explained, “and I go back to rehearsal Tuesday morning.” For him, watching the show with the audience was “very much an out-of-body experience. I was seeing the original cast up there. Some of them aren’t with us anymore, and I was seeing them, seeing moments that we all know we made.” His most harrowing memory occurred the night after the Tonys when the levitating tractor-tire at the Winter Garden that carried him and Grizabella (the freshly Tony-ed Betty Buckley ) heavenward to The Heavyside Layer broke down and a cherry-picker had to be used. “They called the cue backwards, and the cherry-picker went crashing through the ceiling, slinging wood everywhere. Betty was just standing there, shaking. She didn’t know what was going to happen. I said, ‘Stay here. Stay here.’ And she did. That night Grizabella didn’t get redeemed. She got sick.” The only other original Broadway cast member in attendance was Anna McNeely, who played Jellyanydots. “We’ve actually been corresponding via email,” said the 2016 Jellyanydots, Eloise Kropp.

“It’s a fun character to play. I like that she’s lazy, but I also like that she’s motherly. She’s truly like the mother of the tribe. Her main objective is to take care of the kittens and nurture them and teach them how to become older good cats and keep a good name going for everyone in the family.” In this production, the Buckley star-spot is filled by a British vocal powerhouse named Leona Lewis. “It’s been amazing playing Grizabella,” she admitted. “The audience reaction has been greater than I could have hoped for. I’ve really enjoyed it, but I’ve only done 14 performances so I don’t want to get too carried away!” The feline facsimile of Mick Jagger, Rum Tum Tugger, is socked across aggressively by Tyler Hanes. “This character’s a blast! He’s a party! He’s loud, he’s outgoing, he’s totally Mick—some of him, some of Prince, some of Bowie, some of Elvis, a lot of Andy Blankenbuehler. I just feel a lot of freedom doing it.

There’s so much playful, and there’s so much play, that Trevor and Andy have been able for me to have.” Ricky Ubeda, sporting an amazing Technicolor dreamvest that lights up when he dances, lives up to his big number, “Magical Mister Mistoffelees,” and Emily Pynenburg basks blissfully in the reflected glory. “I feel dazzled just to dance with Ricky Ubeda,” said Pynenburg, who also trips the light fantastic. “I’ve battery packs in my costume. They figured out how to hide it. Basically, I wear my regular leotards, then the light-up one and another on top of that. I come in three layers.” Audience-wise, Cats pretty much preached to the converted on opening night. Anybody with a passing acquaintance with musical theatre seemed to be attendance, saved for the promised Hamilton ( Lin-Manuel Miranda , whose flight from Puerto Rico was delayed). Otherwise, there were Jekyll & Hyde ( Constantine Maroulis ), Cinderella ( Laura Osnes ), Dirty Blonde (Claudia Shear), Elf and his wife, The Pirate Queen ( Sebastian Arcelus and Stephen J. Block).

Plus Tommy Tune, whose choreography for My One and Only took the 1983 Tony over Gillian Lynne’s cat-crawlings. See photos from Opening Night: See Rosie O'Donnell, Ingrid Michaelson and More Out to Celebrate the Jellicle Cats See Rosie O'Donnell, Ingrid Michaelson and More Out to Celebrate the Jellicle Cats The “Memory” Lives Again at the Cats Opening Night. Click here to read more. 126 PHOTOS Review: 'Now & Forever: The Music of Andrew Lloyd Webber' - tribunedigital-chicagotribune After a rough start, Andrew Lloyd Webber revue shines THEATER REVIEW: 'Now and Forever' at the Marriott Theatre ★★★ January 24, 2013|Chris Jones | Theater critic Sam Rogers and Lauren Blane perform in the Andrew Lloyd Webber revue “Now & Forever: The Music of Andrew Lloyd Webber” at the Marriott Theatre.

(Peter Coombs, HANDOUT) At the start — the rough start — of the Marriott Theatre's new revue of the music of Andrew Lloyd Webber, entitled, with justification, "Now & Forever," the throbbing electronic tones of "The Phantom of the Opera" fill the theater as colored lights flash repetitively on a chandelier sitting on the stage. To say that this is not a subtle opening is like saying Sir A. has a nice house in Barbados. It does not even begin to describe the full situation. Worse, this chandelier then rises to the ceiling (a voyage of about six feet, which is about all the headroom they have) and it's immediately followed by a clutch of very attractive singers walking out and sharing the lyrics to "As If We Never Said Goodbye" from "Sunset Boulevard," which, if memory serves, is exactly the cliched way ("I don't know why I'm frightened/I know my way around here") Barbra Streisand started one of her arena tours. One sympathizes with the choice: Commercial theaters like the Marriott have been lusting for years to get the music to "Phantom" on their stages, if only the darn thing would close on Broadway already.

You can't blame them for throwing it out there at the start. Finally, Lloyd Webber-land has allowed the money material to appear in a revue, along with songs from "Cats," "Sunset Boulevard," and even "Love Never Dies," the much-maligned "Phantom" sequel yet to be seen on Broadway. But sometimes you have to protect the audience from what it thinks it wants. Anyway, the terrible opening violates the first rule of revues of the material of familiar and prolific composers: Approach the subject with a glancing blow, pick your material with delicacy and make unusual connections. In this case, it would have been smart to stay away from chandeliers. "Now & Forever," in its premiere at the Marriott, never gets around to exploring what the music of Lloyd Webber actually means, as it should (and I mean that in all seriousness; he's surely been one of the soundtracks to my particular tawdry life, ever since the late 1970s), nor does it make new or profound linkages between his astonishingly broad array of compositions. But it does, quite quickly, get a whole lot better. The cast is too talented to permit otherwise.

The opener should have been "The Jellicle Ball," the lively sequence from "Cats" here set to droll choreography by the director, Marc Robin, just as various "Variations" from "Song and Dance" are set mostly to the terrific work of co-choreographer Harrison McEldowney, whose naturalistic (yes, naturalistic) work here reminds me of that of Steven Hoggett of "Once" fame. One might not think of Lloyd Webber as an ideal backdrop for dance, but, in fact, his fare offers all kinds of possibilities for a populist kind of movement, which McEldowney and a truly lovely group of dancers exploit beautifully. The Marriott has invested heavily in a top-drawer, New York- and Chicago-based cast (this is no small revue; the cast numbers 19). The night, gorgeously costumed by Nancy Missimi, is headlined by Linda Balgord, a veteran Lloyd Webber interpreter (I remember seeing her years ago in "Sunset Boulevard" at the Civic Opera House) whose work has only grown better with age.

Balgord's unimpeachable bona fides — supported by the gorgeously voiced Erin Stewart, another stellar ALW vet, the Chicago star Susan Moniz and Max Quinlan (fresh from touring with "Les Miz") — anchor this show. One really doesn't get much of a chance to see the old-school likes of Balgord in an era when so many Broadway tours are non-Equity. Her technique is exquisite and her "Memory" is as fine a "Memory" as you ever will hear. I've never been an ALW detractor. Without his remarkable work, the commercial theater as we know it would be in different and infinitely more pathetic shape. No living composer for the stage has brought so many to the theater. This revue surely reveals his formidable range: "Pie Jesu" to "Any Dream Will Do" is quite a trip. And, rather like George Gershwin, ALW has many songs that one can enjoy hearing again without actually having to sit through the terrible show that once housed them: the toe-tapping title number to "Starlight Express" is in that category. That song about a train surely has the most repetitive lyrics ever written ("Are you real?

Yes or no?" and on, and on), but it still gives me goose bumps. And Brian Bohr nails it, as Jameson Cooper does "Close Every Door," the song from "Joseph and the Amazing Technicolor Dreamcoat" that in Chicago we think of as a Donny Osmond anthem. Sir A. even revived an Osmond. I'd argue that "Gethsemane," the intense song from "Jesus Christ Superstar" (a great number, let's stipulate) shouldn't ever really be transposed to a revue and sung in street clothes. That said, Quinlan's interpretation is spectacular. In Act 2, "Now & Forever" basically trots out a series of huge ALW power ballads: Moniz belts "Don't Cry For Me Argentina," Quinlan does his Jesus thing, Balgord kills with "Memory." It's quite a progression. I kept pondering what some alternatives might have been — what bigger themes might have emerged. Some exploration of the composer's astonishing broad appeal? (Detractors aside.) A study of how his work follows the trajectory of life itself? I found myself wanting more of a point of view; those around me were just loving such mastery of theatricality.

MORE: NOW & FOREVER: The Music of Andrew Lloyd Webber - After the Final Curtain - YouTube NOW & FOREVER: The Music of Andrew Lloyd Webber - After the Final Curtain Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jan 30, 2013 After The Final Curtain is a web-series developed by Chicago based Public Relations, Marketing and Advertising firm Noreen Heron & Associates. Please join us for these exclusive behind the scenes "peeks" into our opening night receptions and special events. Subscribe to our YouTube channel "HeronPublicRelations" for this new series as well as other great clips from our clients. A special thanks to Hannah Jarvis (Host) and Jared T. Thomas (Videography and Editing). Category Now & Forever: The Music of Andrew Lloyd Webber at The Marriott Theatre - YouTube Now & Forever: The Music of Andrew Lloyd Webber at The Marriott Theatre Want to watch this again later?

Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jan 23, 2013 Now & Forever: The Music of Andrew Lloyd Webber January 16 — March 24, 2013 MarriottTheatre.com | Call the Box Office: (847) 634-0200 The "Music of the Night" awaits you! The shows of Andrew Lloyd Webber are theatrical treasures...his music legendary. This premiere presentation assembles a cast of incredible singers and dancers to bring you highlights from Evita, CATS, Jesus Christ Superstar, Joseph and the Amazing Technicolor Dreamcoat, Starlight Express, Sunset Boulevard, the most anticipated sequel in Broadway history, Love Never Dies, and its predecessor, Phantom of the Opera, the world's most successful musical.

Category Andrew Lloyd Webber - Now & Forever: Andrew Lloyd Webber: 9780634056710: Amazon.com: Books Andrew Lloyd Webber - Now & Forever click to open popover Special Offers and Product Promotions Don't have a Kindle? Get your Kindle here , or download a FREE Kindle Reading App . New York Times best sellers Browse the New York Times best sellers in popular categories like Fiction, Nonfiction, Picture Books and more. See more Product Details Publisher: Hal Leonard Corporation (November 1, 2003) Language: English Product Dimensions: 9 x 0.8 x 12 inches Shipping Weight: 2.4 pounds By MD2KNF on January 30, 2016 Verified Purchase This is a nicely comprehensive collection of Andrew Lloyd Webber. It contains several songs from his shows, and includes several very beautiful songs from less well-known shows that I probably would never have stumbled across otherwise. It's a shame this appears to be out-of-print, but the used copy I received was in perfect shape.

Question: Which Lloyd Webber musical was billed as 'Now and forever'?
Answer: Cats