Andrew Lloyd Webber, Tim Rice and John Legend become EGOTs with Emmy win - relax-sakura.info
The lyricist on his worst job, relationship regrets and the wise words his In the 60s, he teamed up with Andrew Lloyd Webber and wrote the hit. ) will always be inextricably known as Andrew Lloyd Webber's original - and best - lyricist. TIM RICE: If it's a musical – ie not just a one-off song – the first thing you It's like trying to get married again, I suppose. The Best Plays in London What to see where and until when: theartsdesk's stage tips. Andrew Lloyd Webber is arguably the most successful composer of our time. His next successful collaboration with Tim Rice was the musical biopic 'Evita', based on the true He was married three times and has five children. . There is a recommendation that schools spend a certain amount of time teaching music but it.
It has been something that gnawed at me. If the expertise goes up, is there a point at which you would like to haul yourself in front of the public with an entirely new musical? Musicals tend to be a cash-in on a big film. Not even in America. Where is the great year-old writing a great musical? What trouble did you get into? All I said was I would rather go and see something new and young and fresh. Is it lack of opportunity, or is it that the art form is slightly rickety?
People still love good musicals. What did you make of Rent? It sounds awfully patronising but for a first effort it was pretty good. But my complaint was that there were no British ones. We harnessed the arrival of the record album as the biggest form of entertainment, as it was in those days.
It was forced upon us really because nobody wanted to stage it. I mean we were hailed as marketing geniuses. But it was really an act of desperation. The whole thing about Superstar was a lot of luck.
Because we did a record we had to make it short, which was great, we had to cut out the book, which was great. It would have probably opened out of town, the orchestrations would have been very conventional. It had been done for Hair but Hair was a bit freaky. So when we went onto record as a last resort we made it rocky.
The only outlet we thought was getting played on the radio so it had to be much more contemporary. It was always going to be contemporary but Andrew was able to be completely free with exciting contemporary rhythms.
And it was short. There was no book. And it came out before the show. All these things were new.
We were just lucky. They just did it and what they did was brilliant. And they were running three weeks behind their image all the time.
And to a certain extent that happened to us, not in such a big way. Do you have great nostalgia for the early s? Yes, mainly because we were young, successful, travelling the world. I mean what was not to love? I knew at the time. Is the expertise graph line still going up? In the sense that I read a lot and I learn new words I suppose it might be. I probably spent more time on The Lion King with the script guys helping and chipping in in all the meetings about the storyline.
And the songs were a big part of the storyline. Between us all we decided on what the song had to say. And Elton wrote a tune which was quite pretty but it was a sort of dum-pi-dum-pi-dum, and that was clearly hopeless. So we went back and I did it again and wrote a much more serious lyric and that was one of the tunes I witnessed Elton writing. He took it in the studio and just played over and over again, singing. And it was fascinating.
theartsdesk Q&A: Lyricist Tim Rice
And he came out within an hour and a half with a really good tune. He never complains about words. The whole thing is a leap of faith. Funny songs need to rhyme. Serious songs need rhyme but not every other word. I have on occasions booted out something because it rhymes. Talk about facing challenges and all this crap makes me yell at the TV or the radio.
Beautiful tune, wonderful orchestration, a beautiful woman looking great. We never thought it would be a single.
When I worked on Evita back in the Stone Age I spent about a year working on it on my own because Andrew was not absolutely certain he was going to do it because he was working on Jeeves, which I had bailed out of.
I might not have done it at all. Are there any shows you regret? There are quite a few school productions happening. I went to see it at Charterhouse the other day and it was very good. This show has certainly got it 20 per cent closer to what it could be.
And a new composer? The early part of the story was a bit wrong. I think the problem which came to me like a blinding light at the Pleasance Theatre in Islington was that in the opening scene Blondel is made to look a bit of an idiot. I think he should be much more the innocent and not have the mickey taken out of him by everybody. Was there a specific reason why you and Andrew Lloyd Webber stopped collaborating?
- John Legend, Andrew Lloyd Webber and Tim Rice Become Newest EGOTs With Emmy Win
- theartsdesk Q&A: Lyricist Tim Rice
The principal reason was that he wanted to do Cats, which was a huge hit, so a very good decision. Simple as that really.
And Starlight was a big hit in London. Have you always as a pair had it in the back of your mind that you might do something? Hang on, that was very successful. I think when Phantom was at its peak and Chess was having problems, I thought probably it was a big mistake from my point of view and clearly apart from anything else people quite understandably were going to think our success is all down to Andrew.
And I suppose being vain and human I got a bit pissed off at that point. Not with Andrew particularly but with myself, that I should have stuck with him, I should have done Starlight and Phantom. And indeed Tell Me on a Sunday was another thing he did. Is that what you thought at the time?
But not all the time. These are great guys. And Andrew has worked with Don Black and a lot of different lyricists. Because we do have very different tastes in theatre. A lot of the stuff Andrew has done has not been my cup of tea. Were you steeped in theatre when you started? The only time in my life I went to theatre a great deal was in the first eight to ten years I met Andrew, which included our early success. Who do you look up to as a lyricist? Probably more in the rock field than in the theatre field.
That was what was interesting to me. And I just played the records over and over again. I still in a way prefer listening to the music than necessarily going to see the show.
In terms of admiring lyricists I greatly admired Alan J.
Sir Tim Rice: ‘What would I change? The way one or two relationships ended’ | Stage | The Guardian
I also probably assumed when I was very young that good words in a show on an LP were a given. They were part of the deal. I found only later on that my parents only bought the good ones. No book has been pushed and pulled more than Chess. This has often been the root cause of its problems. We had a lot of problems that were just bad luck, with Michael Bennett getting ill and pulling out of the show having cast it and set everything up, and we had huge sets going in.
Trevor Nunn came in and did a very good job in getting the show on by opening night, but there were so many last—minute panic alterations. Why was that decision taken? It was primarily his decision.
We all went along with it. Instead we ended up making a drastic change in New York. They love the songs. It had all the songs, and it was a great show, but it had no real resemblance to the original story.
It was in Estonian with, interestingly, English surtitles. So I was kind of watching an English translation from the Estonian which in turn had been translated. Some of it was quite similar.
We keep one or two things that, on the tortuous route, worked. There was also a song for a Russian diplomat or politician. That is in it. How come the show started as a record anyway? The Evita album was changed by ten or 15 per cent for London, but we got it right. I think because of the problems of changing directors and Trevor having about six weeks to work on something that was massive, and he did a great job in getting it on, we never quite knew what Michael Bennett had in mind because he never got to the opening day of rehearsals, and I think that clobbered us from doing a decent book story that really worked well for London.
Tim Rice rules out collaborating again with Andrew Lloyd Webber
The good thing is that every five minutes a cracking song comes up. They did a very good version in Stockholm which in many respects was the most successful version of them all.
Producer Cameron Mackintosh had to find him and bring him back to the theater for the curtain calls. He considers the crashing of the chandelier in "The Phantom of the Opera" to be the most theatrical moment he's ever conceived.
Attended the wedding of media mogul Rupert Murdoch to former model Jerry Hall in Personal Quotes 11 There is a recommendation that schools spend a certain amount of time teaching music but it really depends on whether the teachers believe in it.
Andrew Lloyd Webber, Tim Rice and John Legend become EGOTs with Emmy win
In some primary and secondary schools there is no musical provision at all but other well-resourced schools have plenty. But more than this she also brings real character into the voice - so rare for her age.
If you're a composer you do want to know how people are reacting to it but at the same time, of course, the performer is the most important thing. I'm a composer and therefore I know when I've written a good tune. When you've written a good song is when you know that the lyric is completely coalesced with the song. Sometimes I think I've written melodies that may have got a bit buried because maybe the lyric hasn't worked with the song. Sometimes, actually, it's the other way around.
When you're writing for musical theatre the story comes first. If the story's right then the songs will probably come right. You're the luckiest person in the entire world if you know what you really want to do, which I was lucky enough to know when I was very young. And you're the luckiest person in the world if you can then make a living out of it.
I have lived and worked in Britain all my life. Not even in the dark days of penal Labour taxation in the Seventies did I have any intention of leaving the country of my birth. Despite a rumour put around some years back, I have never contemplated leaving Britain for tax reasons. More than ever before we need to keep high-flying professionals in the UK. We can't, as we have done in the past, dump on them through penal personal taxation.
Of course we know that there have been some shocking excesses in the City of London. But for years we have also had drummed into us that the City of London proudly took over from manufacturing as the UK's main source of income. New Labour rejoiced in the fruits of the excesses of the bankers.
Of course, with hindsight, their bonuses were obscene. But New Labour gratefully taxed them. The regrets in the theatre have always been the shows that you know ought to have worked, but for one reason of another haven't.