As Cliff becomes more involved in this carefree world, Hitler continues to gain power. Whilst the members of the Kit Kat Klub, including Sally, are convinced that the political tensions in the country will have no effect on them and should be ignored, soon it becomes clear that the world they lived in will never be the same.

Upcoming Revival

Will Young in Concert

Cabaret will make a triumphant return to the West End this autumn, with Will Young as the Emcee. The production is set to be directed by Rufus Norris, who also helmed its last London outing in 2006. It is scheduled to open at the Savoy Theatre on 1 October 2012.

Young rose to fame as the winner of the first Pop Idol contest in 2002, and his first release, “Anything is Possible,” became the fastest-selling single in British history. He has since had considerable success in the charts, most recently with his #1 album, Echoes. He made his film debut opposite Judi Dench and Bob Hoskins in Mrs. Henderson Presents, and subsequently appeared on stage in the Royal Exchange Manchester’s production of The Vortex by Noel Coward. The production of Cabaret would mark Young’s West End debut.

History

The musical is based on Christopher Isherwood’s semi-autobiographical novel, Goodbye to Berlin, which was adapted into a play called I Am a Camera in 1951. Renowned Broadway director Hal Prince secured the rights to adapt the story into a musical and approached songwriters John Kander and Fred Ebb to write the score. It opened on Broadway in 1966 and won a staggering 8 Tony Awards, including Best New Musical, Best Score, Best Director, and Best Supporting Actor for Joel Grey. Lotte Lenya, an acclaimed Austrian actress who had herself fled Germany during the 30’s, also made one of her final stage appearances as Fraulein Schneider. The original West End production opened in 1968 and featured Dame Judi Dench as Sally Bowles.

In 1972, Cabaret was adapted as a film, helmed by legendary Broadway director and choreographer, Bob Fosse. Joel Grey reprised his role as the Emcee, and he was joined by Liza Minnelli as Sally Bowles. The role was Americanised to suit Minnelli, and the character of Cliff was changed to an Englishman named Brian (played by Michael York). It matched the Broadway production’s Tony haul with 8 Academy Awards, including ones for Minnelli, Grey, and Fosse. It holds the record for most Oscar wins by a film that did not win Best Picture, after losing that prize to The Godfather.

The film was recently rereleased in a newly restored version in celebration of its 40th anniversary.

Revivals

Liza Minnelli and Joel Grey

Cabaret has spawned no less than three major West End revivals. The first, in 1986, starred Kelly Hunter as Sally, Peter Land as Cliff, and Wayne Sleep as the Emcee. In 1993, Sam Mendes directed a radically different production, emphasising the dark undertones of the musical and the rise of Hitler. It starred Jane Horrocks as Sally and Alan Cumming as a more sexualised Emcee, who appeared at the end of the musical in a concentration camp outfit. The production transferred to Broadway, where Mendes was joined by Rob Marshall as co-director. Cumming reprised his role alongside Natasha Richardson as Sally. It has the rare distinction of running longer than Cabaret’s original Broadway production, and it for 2,377 performances, making it the third longest-running revival. It did depend on stunt casting considerably in the later stages of its run, as the cast included Brooke Shields, Teri Hatcher, Gina Gershon, and Lea Thompson, most of whom were a decade or more too old to play 19 year-old Sally.

It was most recently revived in the West End in 2006 by Rufus Norris, with Anna Maxwell Martin as Sally, James Dreyfuss as the Emcee, and Sheila Hancock, who won an Olivier Award for her performance as Fraulein Schneider. The production ran for two years before embarking on a national tour.

Are you excited to see Cabaret revived in the West End? And who should play the irrepressible Sally Bowles?

The Dance Hits

Alongside bands like The Bee Gees, ABBA is credited with defining the sound of disco, and their dance classics are some of the most enduring songs of the 70’s.  One of their greatest hits, “Dancing Queen” still gets people on their feet when it is heard at weddings, parties or dance clubs around the world. “Mamma Mia,” “Gimme! Gimme! Gimme”, and “Voulez-Vous,” are just a few of the other disco tracks that contributed to the band’s success.

These songs translated easily to the stage, enabling the director, Phyllida Lloyd, and choreographer, Anthony Van Laast, to create spectacular production numbers. The musical’s Greek summer settling also allowed the design team to create vibrant colourful sets and costumes that allow these songs to shine. The finale of the stage show features a mini-concert that sends the audience out on a high with reprises of the title song and “Dancing Queen” along with “Waterloo”—the song that first put ABBA on the map—as an encore.

Here the Sugababes join the cast of Mamma Mia! for a one night performance of “Dancing Queen” in support of BBC Children in Need:

The Love Songs

Whilst best known for upbeat disco tracks, ABBA did have some soulful love songs that made it into the charts as well. Some tracked the tumultuous personal relationships within the band; for most of their existence ABBA comprised of two married couples. Two of their most heartbreaking songs are said to be inspired by their subsequent divorces, with “When All Is Said and Done” inspired by the break-up of Anni-Frid Lyngstad and Benny Andersson, and “The Winner Takes It All” thought to be based on Björn Ulvaeus and Agnetha Fältskog’s divorce in 1979.

“The Winner Takes It All” was ultimately the inspiration for the musical.  Producer Judy Craymer says of the song, ‘[it] first suggested to me the potential of an original musical using Benny and Björn’s classic compositions. The lyrics tell a roller-coaster story of love and loss: it is extraordinarily theatrical.’ That roller-coaster of emotions is evident in some of the other great songs that are used to chart Donna and Sophie’s parallel love stories, including “Our Last Summer”,  “Lay All Your Love On Me,” and “Thank You for the Music”. These finely-crafted love songs provide the soul at the heart of Mamma Mia!

Here is ABBA performing the song that would end up inspiring Mamma Mia!:

Idina Menzel (Elphaba)

Fast becoming a Broadway legend, Idina Menzel was the highest paid female performer in the West End during her run in Wicked and won a WhatOnStage Award for her performance. She became a series regular on Glee in 2010 as Shelby Corcoran, a rival glee club coach who turns out to be Rachel Berry (Lea Michele)’s biological mother. She’s regularly returned to London, including her one night only concert with the Royal Philharmonic Orchestra and a concert version of Chess alongside her Wicked standby, Kerry Ellis, both at the Royal Albert Hall.

Here’s a duet with Menzel and Ellis from the Chess concert at the Royal Albert Hall:

Helen Dallimore (Glinda)

Australian actress Helen Dallimore originated the role of Glinda in the West End. Though she turned down the chance to reprise the role in the original Melbourne production, she has returned to the Australian stage several times, including appearances in Spring Awakening and Boeing Boeing. Her subsequent London roles include the Witch in the Open Air Theatre Regent’s Park production of Into the Woods, and Mrs. Ernest Hemingway in Too Close to the Sun, a critical flop which closed in the West End after just two weeks.

Adam Garcia (Fiyero)

Fellow Aussie, Adam Garcia, played Fiyero in the original West End production. He first played the part alongside Menzel and Kristin Chenoweth in a 2002 workshop of Wicked. Since leaving the cast, he appeared in dance revue Tap Dogs in the West End and its subsequent Sydney production. This led to him earning a seat on the judging panel of reality TV show Got to Dance alongside Kimberly Wyatt of the Pussycat Dolls and Ashley Banjo of Diversity. He has appeared on the hit show since 2010.

Here he judges The Future as part of the 2012 auditions:

Katie Rowley Jones (Nessarose)

Katie Rowley Jones appeared in a number of West End and touring productions, including Grease, The Rocky Horror Show, and Whistle Down the Wind. After playing Nessarose in Wicked, she went on to originate the role of Sister Mary Robert in Sister Act, a part that won her rave reviews.

Miriam Margolyes (Madame Morrible)

BAFTA-winner Miriam Margolyes has had a long and distinguished career in film and television. After playing Madame Morrible in the West End run of Wicked, she went on to play the role on Broadway. Her film and television appearances since leaving the show include Merlin, How to Lose Friends and Alienate People, and Harry Potter and the Deathly Hallows. She is currently filming My Mother’s Curse, a comedy to be released later this year starring Seth Rogen and Barbra Streisand.

Martin Ball (Photo by Christopher Gough)

Martin Ball (Doctor Dillamond)

After originating the role of Doctor Dillamond in the West End, Martin Ball went on to a number of West End productions, including Mamma Mia!, Absent Friends,  and Les Misérables. He played Mr. Banks in the UK tour of Mary Poppins and was awarded a TMA Theatre Award for Best Supporting Performance in a Touring Musical. He played Horace in the original production of Top Hat and will reprise the role when it opens in the West End in May.

The first show to have confirmed its plans is the brand new screen to stage musical THE BODYGUARD which will open at the Adelphi Theatre on December 5th after previews from November 5 2012. At the press launch for the show on May 1st, Producer David Ian spoke of his excitement and love for the project, that has been almost six years in the works. The initial announcement of the show opening came a week after 48 year old singer and actress Whitney Houston, star of the original film, died in Los Angeles which has led many people to believe that the show hopes to ‘cash in’ on the hype surrounding the tragic circumstances. The show had previously been expected to open in the upcoming season, and so the timing seems to be a coincidence, heightened by Houston’s current presence in the world’s media. Producers however were quick to deny that the project had been hurried, speaking to a crowd of industry professionals about its long journey to the stage.

Director Thea Sharrock was approached tentatively by producer Michael Harrison who thoroughly expected the award winning National Theatre director to turn it down. Although she hasn’t got a name for musical theatre, Sharrock is a self confessed Whitney Houston fan, and told members at the press conference how she often used the film’s soundtrack in rehearsals to assist her actors. Her belief in the project was cemented after reading the faithful adaptation by Alexander Dinelaris, saying the film will make a perfect stage musical.

After a number of New York previews, Sharrock worked alongside Broadway icon Heather Headley, and was so blown away by her talent and ‘aura’, saying that if Headley was involved, she would be also. Headley was then introduced to the press by performing the number ‘I Have Nothing’ which brought down the house. Her charm, charisma and energy were clear for all to see, and her vocal confidence matched the style of the musical which will ultimatley lead to nightly standing ovations. Speaking of how humbled she was to have been asked to play the role made famous by Whitney Houston, Headley charmed the crowd, and was aware of the upcoming challenges but confident that the project would be a success. She was warm and convincing for her love of the show, coming across as wholehearted and genuine in every respect. Host Neil Fox then introduced her co-star Lloyd Owen to the stage, who will take on the part of the bodyguard played by Kevin Costner in the film. Although not a musical theatre actor, Owen’s credits stretch from The National Theatre to the RSC and the Young Vic and he spoke of how delighted he was to be a part of the project. Headley explained how she was initially worried about moving to London, but her husband convinced her that it was the role of a lifetime and a dream come true. She will be bringing her two year old son over for the run and will be joined by her husband every two weeks.

David Ian stressed how excited he was for the project, convinced that he had found a ‘perfect’ creative team as well as a ‘perfect’ venue in the Adelphi Theatre. Headley rounded up the event by performing the iconic number ‘I Will Always Love You’ which was met with rapturous applause.

THE BODYGUARD is based on the 1992 movie that starred Kevin Costner and Whitney Houston, directed by Mick Jackson. The film quickly achieved iconic status, bringing in over $400 million in the world wide box office. Along with the lead characters the film also starred Garry Kemp and Bill Hobbs, and marked Houston’s on screen debut. The story revolves around a former Secret Service Agent turned bodyguard, who is employed to look after Hollywood actress Rachel Marron after she has received a number of death threats and assassination attempts. The film tells the story of the relationship between the actress (Houston) and her bodyguard (Costner) and is described as a ‘romantic thriller’. The film is more famously known for its iconic soundtrack, which featured a number of Whitney Houston hits, including ‘I Have Nothing’, ‘Run to You’ and ‘I’m Every Woman’. The film’s biggest number was ‘I Will Always Love You’ which shot to the number 1 spot around the world and projected Dolly Parton’s song into the public eye once again. The film’s soundtrack won a Grammy Award and has since sold over 44 million copies worldwide.

The Bodyguard Musical will use a number of Whitney Houston songs as its soundtrack, including all of the numbers from the film. Other songs such as ‘Saving All My Love For You’, ‘One Moment in Time’ and ‘I Wanna Dance With Somebody’ are said to be included in the score, which will be performed live within the story, in a similar style to other jukebox musicals. The show will also be enhanced by original material which will account for roughly 25% of the overall score.

Headley will bring the role of Rachel Marron to the stage and deliver these now classic numbers. The 37 year old actor is no stranger to the stage, having won both a Tony Award and a Grammy Award for her recent performances. She originated the role of Nala in Disney’s The Lion King on Broadway, before opening Disney and Elton John’s musical Aida. She received great critical attention in the title role, taking home the Tony Award for Best Actress in a Musical. In 2009 she rocked the charts with her first Gospel inspired solo album, winning the Grammy Award for Best R&B Gospel Album. She has performed in a number of musical theatre concerts around New York, including singing in Dreamgirls alongside Audra Macdonald.

The full creative team for the musical includes: Alexander Dinelaris (Book), Thea Sharrock (Director), Tim Hatley (Set and Costume Design), Arthur Pita (Choreographer), Mike Dixon (Musical Supervisor and Vocal Arrangements), Chris Eagan (Orchestrations and Musical Arrangements) Mark Henderson (Lighting Designer) Richard Brooker (Sound Designer) Michael Harrison and David Ian (Producers).

A behind the scenes video from the workshop of The Bodyguard Musical

Queen Fan Base

We Will Rock You had a distinct advantage over other new musicals in that it had a ready-made audience of Queen fans eager to see the band’s classic hits live on stage. One of the greatest rock bands of all time, Queen has sold more than 150 million albums and had 18 number one singles worldwide.  They have influenced countless rock bands, inspired Lady Gaga’s name, and been covered by everyone from Guns ‘n Roses and Elton John to Shirley Bassey and Elaine Paige.

It was only natural for Queen fans to take a shine to We Will Rock You, which features more than 25 of their biggest hits, and their followers from around the world have flocked to the musical since its opening.

A New Musical Following

Traditionally, musicals have been seen as a separate genre, and few rock musicals had been a great success. After the brief rise of rock operas like Hair and Godspell in the 1970’s, more traditional musicals like The Phantom of the Opera and Les Misérables dominated the 80’s and early 90’s. Rent broke new ground with a more modern sound upon its West End premiere in 1998, and We Will Rock You was one of the new musicals to fit this new genre.

Whilst most musicals have to rely on more traditional theatre-going audiences, such as families, people in the arts, and tourists, We Will Rock You was able to reach out to a wider market. Its appeal has spread to younger people, first-time theatergoers, rock fans, and a rarely targeted group: young males. Tourism has also played a major role in the show’s success, as the easy-to-follow plotline and well-known numbers make it a common choice for international visitors eager to see a production in London. By attracting a wide and diverse group of people, We Will Rock You has placed itself in a rare position of attracting audiences without many positive reviews.

The Fans – How Avid Are They?

To give you a flavour for just how much fans love We Will Rock You, here are a few of the responses from the official forum, which asked fans to fill in the sentence “You know you’re obsessed with We Will Rock You when…”

• You you seriously consider stealing the We Will Rock You poster on the escalator at tube stations.
• You have the ticket agency number on speed dial, even though you know the number anyway
• You name your group of friends after the Bohemians and assign characters to them based on their personalities
• You decide to be a character from the show for Halloween but your friends don’t notice a change.
• You all of a sudden take interest in Physics because of a scientist once named ‘Galileo’
• You dread 2.30 on a Saturday afternoon because if you’re not at the Dominion Theatre you know that you will fall into a pit of despair
• You want to learn Spanish/German/ Italian so you can watch the productions in that language.

Defying Gravity – Idina Menzel

After originating the role of Elphaba on Broadway and in the West End, “Defying Gravity” has become one of Idina Menzel’s signature songs. She released it as a single and its remix made it to #5 on the US dance charts in 2007.

Defying Gravity & For Good – The Cast of Glee

Chris Colfer

Lea Michele

For Good – Leann Rimes and Delta Goodrem

Country singers Leann Rimes and Delta Goodrem recorded a duet of “For Good.” It was released on a special edition two-disc CD commemorating the 5^th anniversary of Wicked on Broadway.

Defying Gravity – Kerry Ellis with Queen’s Brian May

After Brian May recruited her to star in We Will Rock You, they teamed up to produce this stellar pop rendition of Wicked’s flagship song, “Defying Gravity.” She played the role of Elphaba in Wicked for nearly a year, and this single appeared on her debut album, “Anthems.”

Popular – Kristin Chenoweth

One of the most “Popular” songs from the musical is sung by Kristin Chenoweth on the original cast album. She performed the song along with Idina Menzel on a number of US talk shows, but as yet it has not been released as a single.

For Good – Stacey Solomon

X Factor and reality TV star Stacey Solomon took to the stage of the Apollo Victoria Theatre for a special one-off performance of “For Good”, benefiting BBC’s Children in Need. Is a West End career ahead for her?

Whose version of Defying Gravity and For Good do you like best? Which songs from the Wicked soundtrack would you like to see released as covers, and who should sing them?

Damouchari

How to get there: Fly to Volos and then take a 30-minute bus ride. Alternatively take the bus from Athens (3½ hours) or Thessaloniki (3 hours).

The quaint village of Damouchari provided the jetty and olive grove for the film. The town’s “Blue Beach” connects to the picturesque harbour that provides many of the movie’s opening scenes as Donna’s three former lovers arrive on the island. In the Pelion region on the mainland of Greece, it is the only natural harbour in this region on the Aegean Sea. The Venetians built a castle in the village to protect trade goods from frequent pirate raids, naming it “Dammi Chari” or “Our Lady, Save Us.”

A mix of romance and tragedy lingers in Damouchari to this day. In 1910, Apostolis Vainopoulo, a wealthy sea captain, decided to invest in the port, hoping to increase its trade. He built a beautiful villa for his young bride, but she died tragically before the building was completed. Vainopoulo remarried, and his grandson still owns the villa and has converted it into a hotel and tavern. Members of the Mamma Mia! cast, including Meryl Streep, stayed here during filming, and the villa boasts terraces in each room overlooking the gardens and the restaurant serves a selection of fresh seafood overlooking the harbour. Cars are still prohibited in most of the village, contributing to peaceful atmosphere of this idyllic location.

Skiathos

How to get there: Fly to Athens, then connect to a 50-minute direct flight to Skiathos

Lalaria Beach on Skiathos (Photo by Harout Arabian)

A number of the film’s beach scenes were filmed on the island of Skiathos, part of the Sporades island chain. The island’s Old Port and St. Nikolaos Bell Tower were also featured. Skiathos and its town of the same name have played roles in several events in Greek history as both a strategic stronghold and hideout, including the Persian Wars and the War of Greek Independence. The Greek flag was first constructed and flown in the Evangelistria monastery on the island in 1807.

During July and August, the town is host to an annual festival at the ancient Greek theatre of Limenas, and the Feast of the Virgin Mary in August prompts a series of celebrations and events across the island. In addition to its many celebrated beaches, Skiathos is the most developed of the three main Mamma Mia! locations, and therefore has the most to offer in terms of hotels, restaurants, and activities. Sailing and chartering boats is a popular and luxurious way to travel to the many smaller islands in the area or to relax on a cruise around this impressive isle.

Skopelos

How to get there: Fly to Athens, connect to a 50-minute direct flight to Skiathos, then 1 hour ferry to Skopelos

A street on Skopelos (Photo by Jon Corelis)

Most of Mamma Mia! was filmed on Skopelos, a remote island an hour’s boat ride from Skiathos. Donna’s inn, as well as the Agios Ioannis Chapel, the beautiful church that featured in the film’s finale are both located on the island. Legend has it that the island was founded by Staphylus (the Greek word for grape), who was the son of Dionysus, the god of wine. To this day, the island has a number of thriving vineyards and olive groves.

The island’s village narrow streets are lined with flowers, and the dramatic landcape contributed to selecting Skopelos as the film’s primary location. Villa Donna and the cliffs the men jump off of in Mamma Mia are located in the area surrounding Glysteri Beach. The sparkling beaches, old-world villages, and breathtaking mountains and cliffs make this an ideal choice for travellers looking to get away from it all in a secluded corner of Greece.

Buddy Holly

One of the first shows of its kind opened in 1989, setting a new wave of interest for tribute shows and musicals. Based on the life and works of singer Buddy Holly, the musical ‘Buddy’ initially ran in London’s West End for over 12 years, and also had a brief Broadway production, which was followed by numerous tours and international productions. The original production starred Paul Hipp as Buddy Holly, and was directed by Rob Bettinson. The show opened at the Victoria Palace Theatre where it played to packed houses for over 6 years. The show then transferred across town to the Strand Theatre (now the Novello) where it continued for another six years, making it one of London’s longest running shows.  The musical won a string of awards in both London and New York, developing a cult following who kept supporting the show throughout its continued UK national tours. Following the life of Buddy Holly the show explores his relationship with The Crickets, showing how the band began to find fame right up to the stars tragic death in a plane crash. Featuring a soundtrack of songs such as ‘Peggy Sue’, ‘Jonny B Good’, ‘Everyday’ and ‘Shout’ the show literally rocked the aisles with audience members inspired by the familiar hits and moved by the emotional true story.

Eva Cassidy

Legendary singer Eva Cassidy’s life is brought to the stage in the tribute show Over the Rainbow. This award winning musical uses both dramatic scenes and live renditions of her music to tell the harrowing journey of the performer who died at the age of 33 and then became a huge selling artist worldwide. The compelling tale combines real life footage of the singer along with anecdotes and tales from her family to lead create an original and fresh piece of theatre. The plot follows Eva from an early age to her first professional gig, success and tragic early death. The show is produced by Theatre Productions and has enjoyed moderate success throughout the UK. Aiming to deliver a heartfelt tribute, the small ensemble recreate now famous numbers and renditions of songs that will last for years to come. Famous cast members include Maureen Nolan, one of the infamous Nolan sisters who has recently been seen as Mrs Johnstone in ‘Blood Brothers’.

David Bowie

Showman David Bowie was reportedly in talks to bring a new tribute show to the London stage in early 2012. Heroes: The Musical was initially pencilled into the O2 arena for March 2012, although news of the production has now gone quiet. This ‘futuristic fantasy’ show was set to tell the tale of Major Tom and a Starman trapped in another universe, using Bowie as a figurehead for the tribute. Directed by Matt Gould, the show was said to feature a cast of more than 30 performers along with a live band, bringing around 20 songs to life including ‘Heroes’, ‘The Man Who Sold The World’, ‘The Jean Genie’ and ‘Let’s Dance’. Although Bowie was not attached to the production, his management company had given the rights for the songs over to producer Deep Signh who was delighted that his back catalogue could be used in this way for the first time. Although news on the production has now gone quiet, it is thought that the show will raise its head again in the near future.

Susan Boyle

This Britain’s Got Talent star shot to fame in the UK and America after wowing judges with her rendition of Les Miserables classic ‘I Dreamed A Dream’. Although she failed to win the show, Boyle was projected into the limelight in a brand new way. Did she go a little crazy? Yes. Did she prove the need for talent shows? Perhaps. One thing for sure is that her story of humble beginnings in Glasgow and rise to fame make a perfect subject for a musical. Most people felt sick to their mouths when the news was announced, but after opening in Newcastle the show gained favourable reviews with many critics awarding it four or five stars. Although Susan doesn’t star as herself (that pleasure is left for co-writer Elaine C Smith) she does make a cameo at the end of certain performances to deliver the ballad that helped her to achieve worldwide fame. As a product of Simon Cowell’s ever growing empire we hope this tribute show makes it to the West End, if only to knock diva Elaine Paige who was scathing of her success. We recommend you judge the show for yourself!

Tori Amos

Tori Amos, the American singer-songwriter and pianist was set to open a new musical at the National Theatre, although reports from Artistic Director Nicholas Hytner now suggest that the project has been shelved. The show was originally thought to be the highlight of the 2012 spring season, but now seems like it will postponed indefinitely. The show was called ‘The Light Princess’ was was rumoured to feature a score written entirely by the 48 year old singer. Some of her most famous songs include ‘Crucify’, ‘God, ‘Spark’ and ’1000 Oceans’. She has sold over 12 million albums worldwide and has been nominated for no less than 8 Grammy Awards. Her rise to fame would be a perfect addition to the musical theatre canon, so we can but hope that this project will see the light of day soon!

The Original Phantom and Christine

When the original London production of Andrew Lloyd Webber’s ‘The Phantom of the Opera’ opened in 1986 it quickly became a worldwide phenomenon. Produced by Cameron Mackintosh, the show was one of the ‘mega-musicals’ of the 1980s and inspired productions all over the world. The show is now the longest running Broadway musical and has entered its 26th year at Her Majesty’s Theatre in London. The show’s success has not been repeated, and the reason for its domination is not exactly known. The original production created much hype due to the casting of the lead roles. Andrew Lloyd Webber’s wife Sarah Brightman took on the role of chorus-girl-come-star Christine Daae; a move which lead many people to draw parallels with the author and the chief protagonist. Written as a star vehicle for Brightman, the score included notes which would show off her fantastic range, propelling her into stardom. Rather than take on the role of the Phantom himself, the production team cast Michael Crawford in the lead role, in a move that raised many eyebrows in the theatrical world.

Perhaps the success of the show stems from the unlikely pairing of these two stars. Twenty Six years on, we wondered what had become of the original cast and wanted to know if creating these iconic roles helped propell them into musical theatre stardom…

Michael Crawford

Crawford was no stranger to the stage when he was picked to be part of the original Phantom cast, although he was most famous for portraying the delightfully camp Frank Spencer in the BBC sitcom ‘Some Mother’s Do ‘Ave ‘em’ The show was initially produced between 1973 and 1975 and quickly became one of the channel’s most watched programs. Crawford admired the famous comics of the past, and was committed to doing all of his own physical comedy and stunts himself. On the back of this success he was invited to star as the lead character in ‘Billy’ a musical based on the novel ‘Billy Liar’. The show opened at the Theatre Royal Drury Lane, and it was from this production that Crawford began to get more serious about his vocal studies. From this he went to star in the British premiere of ‘Barnum’ at the London Palladium, which ran for 655 performances and was one of the most successful musicals of the season. His reputation began to build as a singer and entertainer, especially onstage.

Sheer coincidence introduced Crawford to Andrew Lloyd Webber, who had already begun working on ‘Phantom’ alongside his then wife Sarah Brightman. Brightman shared a vocal coach with Crawford, and it was at a chance overlap that Lloyd Webber heard Crawford sing, and began to pursue him for the lead in his next musical. After a lot of persuading, Crawford took the role despite many sceptics questioning his emotional ability to handle such a challenging part. Crawford began performances in 1986 at the Her Majesty’s Theatre, before transferring with the show to Broadway in 1988 followed by Los Angeles a year later. During his 1,300 performance stint he clocked up an impressive Olivier Award, Tony Award, Drama Desk Award and Drama Critics Circle Award, finally leaving the show on April 29th 1991.

After working on a number of albums and solo concert appearances, Crawford’s next full stage show was EFX at the MGM Hotel in Las Vegas, which opened in 1995. When the show began performances, it was billed as the largest and most expensive theatre installation in the world. Early into the run, Crawford was injured during one of the stunts and had to withdraw from the show. The production cost a record $70million to produce and ran for seven years featuring a host of different stars. Crawford gave it a few years before returning to Broadway in a short lived flop musical ‘Dance of the Vampires’ which featured music by rock legend Jim Steinman. The show had been a huge hit in Germany, although on Broadway it was a miserable failure, closing after 56 performances. Crawford received $30,000 a week to play the lead role, with fans of the show blaming him for its failure.

He sprung back onto the West End in 2004 with Andrew Lloyd Webber’s new musical ‘The Woman in White’ where he played the obese villain Count Fosco opposite Maria Friedman. The show was a critical and commercial disaster, and Crawford was forced to withdraw early due to illness brought on by wearing a fat suit at every performance. He moved to New Zealand to recover from the disease and be near to his family. It was Andrew Lloyd Webber once again that kept him in work, offering him the role of The Wizard in the 2011 revival of ‘The Wizard of Oz’ at the London Palladium. Starring alongside Danielle Hope, the winner of the BBC Talent search ‘Over the Rainbow’ Crawford played a number of roles throughout the musical, as well as performing two new numbers written especially for the new show. In October 2011 he joined the 25th Anniversary production of ‘Phantom of the Opera’ at the Royal Albert Hall to celebrate onstage with other members of the original cast and crew – the show that solidified his star status still at the centre of his career.

Sarah Brightman

Despite starring in the original production of Andrew Lloyd Webber’s ‘Cats’, the chorus girl went unknown to the composer for some time. It was not until she took on a number of smaller roles in other musicals that he spotted her vocal potential, writing the song ‘Pie Jesu’ for her, which sold 25,000 copies on the day of release and peaked at number 3 in the UK charts. Brightman married Lloyd Webber in 1984 and the duo seemed unstoppable, taking over the classical charts and the West End stage. The role of Christine was written specifically for her, and she opened the production alongside Michael Crawford in 1986 at Her Majesty’s Theatre. After initial problems with American Equity, Lloyd Webber demanded she star in the original Broadway production, and she transferred to the Majestic Theatre, helping the show take in excess of $17million in pre-sale tickets. After leaving the show she toured internationally singing classical and musical theatre repertoire, releasing albums all over the world. In 1990 she split from Lloyd Webber, but was still cast as the lead in his new show ‘Aspects of Love’ which failed to capture the public’s attention like the previous hit.

After breaking from the composer who had thrust her into the limelight, Brightman was anxious to develop her career herself. She sang on a number of world stages, the most iconic being at the closing of the Barcelona Olympics in 1992. Singing with Jose Carreras they engaged a worldwide audience of over 3 billion with the song ‘Amigos Para Siempre’ or ‘Friends Forever’. Her second classical collaboration ‘Time to Say Goodbye’ with Andrea Bocelli was a tribute to Henry Maske and became an international hit, selling over 3 million copies in Germany alone. The song has more recently been known as one of Brightman’s signature songs.

In 1998 she had her own PBS special filmed at the Royal Albert Hall, solidifying her presence in the Classical charts. She also guest starred in Andrew Lloyd Webber’s 50th Birthday Celebration singing alongside Antonio Banderas and Michael Ball. Guest appearances and concerts ranged from the 2007 Concert for Diana to Live Earth, along with countless Football cup finals and Royal engagements. She became one of the biggest cross over artists of the 20th century, alongside Charlotte Church and Russell Watson.

More recently she has performed at the opening of the Beijing Olympics, broadening her fan base to Latin America and Asia. She has won a string of global awards and has been given the key of the city to both Chicago and Istanbul. Although she has not returned to musical theatre, she remains heavily associated with the musicals of Andrew Lloyd Webber – especially Phantom of the Opera. She regularly sings music from the show in concert and it remains in her most popular repertoire. She is currently the world’s richest female classical performer boasting a fortune of over £30million.

Watch both stars sing together at the 1988 Tony Awards Ceremony.

Follies London 1989

It may seem odd that work that was once seen as niche and far from mainstream has since become so popular that Josef Weinberger (the UK rights holders for prospective amateur and professional productions of Sondheim’s works) have withdrawn amateur rights in London for the foreseeable future, because of the frequency of which they are now performed. Although rarely seen in main West End houses, Sondheim musicals have always lived a healthy life on the London fringe scene, with theatres such as the Menier Chocolate Factory, The Bridewell and of course The Donmar offering glowing revivals of favourites such as ‘Assassins’, ‘A Little Night Music’ and ‘Company’. In these spaces his shows are allowed to flourish artistically, without the same commercial pressures of a full West End revival. In the past five years, these smaller productions have ended up as West End hits, in some cases even transferring to Broadway. The 2011 Open Air Regent’s Park production of ‘Into the Woods’ directed so skilfully by Timothy Sheader has since announced that it will be opening at the Delacorte outdoor theatre in New York, complete with star-studded cast led by Donna Murphy as The Witch and Amy Adams as Cinderella. Actress Maria Friedman has recently announced that she will be directing the London revival of Merilly We Roll Along for the Chocolate Factory’s Christmas season, which producers hope will have the same commercial effect as their previous revivals A Little Night Music and Sunday in the Park with George which both made the journey over the river into prime West End locations. London has gone from appearing hostile to Sondheim to embracing and exporting his works all over the world, and with Jonathan Kent’s production of Sweeney Todd pulling in the punters, the cities reputation continues to build and develop.

Into the Woods London 1990

Comparisons will always be made between Sondheim and his main British contemporary Andrew Lloyd Webber (who incidentally share the same birthday, March 22nd). Although their style and form are both completely different, they each seem to have what the other one lacks. For Sondheim, its the critical praise, the Pulitzer Prize and the ‘high brow’ nature of his work that those in the industry favour above many other composers of his time. For Lloyd Webber, it’s the commercialism and the ability to have a show running for 26 years in its original form that he will be remembered for. Conclusions can be drawn from this comparison for the future of musical theatre composers, students of both schools such as Andrew Lippa, Jason Robert Brown, Stiles and Drewe etc try to pitch it somewhere in the middle, and in many cases, fail to achieve a similar success in either form. Rather than polarise opinion, many audiences appreciate them both in different ways and see them as almost incomparable art forms.

Whilst Sondheim is celebrated more by industry professionals, his work in London was severely overshadowed in the 1980s by the rise of the ‘mega-musical’ such as Cats, Starlight Express and Phantom of the Opera. Even Les Miserables, a French musical, once in the hands of the RSC became staunchly British, complete with accents that walked straight out of Lionel Bart’s ‘Oliver’. Whilst London audiences saw in these shows something new and flashy, very few were interested in the human condition explored by Sondheim in shows such as ‘Company’ which played for 344 performances at the Her Majesty’s Theatre, in 1972, which would later become the home of Lloyd Webber’s Phantom of the Opera for the next quarter century. A Little Night Music proved slightly more successful in 1975, running at the Adelphi Theatre for 406 performances, although the 1989 revival at the Piccadilly only managed a mere 144. The 1980 production of Sweeney Todd was a commercial flop in the West End in a huge production at the Theatre Royal Drury Lane. Although it went on to win the Olivier Award for Best Musical, the production only managed 157 performances, despite the draw of Dennis Quilley and Sheila Hancock.

A Little Night Music London

It wasn’t until British producer Cameron Mackintosh (who was the brains behind West End productions of Les Miserables, Phantom of the Opera and Cats) jumped at the chance to bring Follies to the West End in 1987 that London began to sit up and take Sondheim seriously, as this lavish production was re-imagined for the London audience. Opening at the Shaftesbury Theatre, the production starred Diana Rigg and Julia McKenzie, running for over 600 performances into 1989. Although critics were not sold by the more ‘upbeat’ atmosphere in comparison to the Broadway original, on the whole they raved about the show, and Sondheim, at the age of 57, was formally welcomed into the London theatre scene. Mackintosh continued to promote the composer through productions of Sondheim revue shows, such as ‘Putting it Together’ and ‘Side by Side’, introducing his now vast back catalogue to the theatre going public. By 1990 London welcomed a new production of Into the Woods at the Phoenix Theatre, starring Imelda Staunton as the Baker’s Wife, which was well received and managed to be a moderate commercial success.

In the same year, the Royal National Theatre under the Artistic Direction of Richard Eyre climbed aboard the Sondheim success wagon, producing the first London production of Sunday in the Park With George starring Maria Friedman and Phillip Quast. A more tricky subject matter turned off many London audiences, although the National were compelled to explore the composer’s work further, with successful revivals of Sweeney Todd in 1993 and Sondheim’s first full show A Funny Thing Happened on the Way to the Forum in 2004.

Assassins Donmar Warehouse 1990

By this time, British director Sam Mendes saw the appeal in Sondheim’s work on a smaller scale, beginning the Donmar Warehouse’s relationship with the composer that would last long after Mendes’ departure. Opening his tenure with the premiere of Assassins in 1992, The Donmar quickly became established as one of London’s most exciting theatre spaces. The intimacy of the venue marries well the shows that require a certain closeness to both the characters and complex lyrics, and over the next twenty years, successful new productions of Company, Into the Woods, Merrily We Roll Along, Passion and Pacific Overtures would be presented to wide critical acclaim. Shows that were initially lost in bigger, more American style productions became cleaner and more focused on a smaller scale. After the bubble of the mega-musical had finally burst, British audiences seemed to catch up with American ones, appreciating the art of the musical once again, reverting back to substance over style.

The Menier Chocolate Factory on London’s South Bank emulated the success of the Donmar, creating Sondheim revivals in an equally small space. Sunday in the Park with George and A Little Night Music were presented with a fresh eye, and Road Show (the show which began as Bounce, before becoming Wise Guys) premiered in 2011. Audience remain engaged, eager to be challenged, quietly resisting the growing commercialism of the West End with its hyped up juke-box musicals and screen-to-stage imports.

This latest production of Sweeney Todd is by far the biggest commercial Sondheim production in the West End for many years, and it is delightful to see it so well received. London it seems has gone full circle to becoming a leading light in new Sondheim productions, rather than a failed reflection of our American cousins. After 82 years, Sondheim productions now saturate London and are in danger of becoming too ‘mainstream’. What a surprise this must seem to the composer who has enjoyed a difficult relationship with the city over the past few years, yet a delight to see his ‘love letter’ enjoyed on such an impressive scale. This sentiment perhaps best summed up by the composer himself, as Dot says to George in the finale of what is probably the most autobiographical of the composer’s works: “stop worrying if your vision is new / let others make that decision…they usually do/you keep moving on”.