THEATRE PREVIEW:

“ANDREW LLOYD WEBBER'S MUSIC OF THE NIGHT” at the Civic Theatre

Published in San Diego Union-Tribune May, 1996

What do you get when you cross an Argentine with an ancient savior, a pizza-faced organist with a singing feline, and a runaway roller skate with a faded prima donna?

The musicals of Andrew Lloyd Webber.

(For you Lloyd Webber virgins -- could there possibly be any left out there?-- the references above are to the British composer's string of blockbusters: "Evita," "Jesus Christ Superstar," "The Phantom of the Opera," "Starlight Express" and "Sunset Boulevard").

Depending on your perspective, Lloyd Webber has done more (or less) for musical theater than anyone else, living or dead. It is, however, inarguable that he's managed, with one show ("Phantom"), to pull in $1.5 billion, out-grossing the most successful movie ever made ("Jurassic Park").

Now, close on the heels of the "Phantom's" sellout visit to the Civic Theatre, comes "Andrew Lloyd Webber -- Music of the Night." In the first four days of local tickets sales, the show brought in $70,000.

No matter that a 1989 revue, "The Music of Andrew Lloyd Webber in Concert," toured for years. Folks just keep coming back for more. This U.S. concert tour, which began last November, will continue for another year.

Its co-creator and director, Scott Ellis, wasn't at all sure he wanted to develop a second Lloyd Webber revue. "When [Canadian producer] Garth Drabinsky approached me," Ellis said by phone from New York, "I thought there was no reason to do this. But then I thought, there would be if it were done differently."

So Ellis gathered together a formidable creative team, including writer-collaborator David Thompson, scenic designer Tony Walton and choreographer Susan Stroman. Instead of the traditional concert tuxes and bar-stools, they fashioned what Ellis calls "an emotional ride, a very theatrical concept." There's a 32-piece orchestra onstage, "tons of lights," multiple costume changes and "an elaborate set."

Center stage, singing the 33 melodies culled from the Lloyd Webber catalogue, backed by fifteen singer-dancers, are three Lloyd Webber veterans: Kevin Gray, who played first Raoul and then The Phantom on Broadway; Janet Metz, who recently logged in more than 1,000 performances as the Narrator in Lloyd Webber's own re-mounting of "Joseph and the Amazing Technicolor Dreamcoat"; and Laurie Williamson, who toured the U.S. in "The Phantom of the Opera" and "The Music of Andrew Lloyd Webber in Concert."

Sir Andrew gave the production his blessing, after he saw the show last summer in Vancouver, the first stop on a tour of eight Canadian cities. "He was great," says Ellis. "He gave us some notes, suggested some changes, but basically said 'Do what you want.'"

There is no narration, chronology or patter between the songs. "No 'And then he wrote,'" as Ellis puts it, "but there is a theatrical build." Ellis' favorite part of the show is a love trio linking "Love Changes Everything" (from "Aspects of Love"), "Unexpected Song" (from "Song and Dance") and "I Don't Know How to Love Him" (from "Jesus Christ Superstar").

To Ellis, Lloyd Webber "connects with the theme of love in a very emotional, passionate way. That's what makes him so popular. It's not the lyrics; it's the music. The music takes you to another place."

Music has taken Ellis himself to another place -- from acting to directing. He started out in the 1979 Broadway production of "Grease." He made his directorial debut in 1988, with an off-Broadway revival of Kander and Ebb's "Flora, the Red Menace," for which he brought in his friend, David Thompson.

In 1990, Ellis and Thompson put together a highly touted musical revue of Kander and Ebb songs, "The World goes 'Round," and two years later, they created "Sondheim -- A Celebration at Carnegie Hall," which was televised on "Great Performances." Ellis garnered awards for directing the Broadway revival of Stephen Sondheim's "Company" and the New York and London productions of the Jerry Bock-Sheldon Harnick musical, "She Loves Me."

Right now, he's mounting a new Eric Overmyer play, "Dark Rapture," which opens at New York's Second Stage on May 23. On June 17, he goes into rehearsal directing Kander and Ebb's latest book musical, "Steel Pier," which is scheduled to open on Broadway in Spring 1997.

So how does Ellis think Lloyd Webber stacks up to Sondheim, Bock & Harnick and Kander & Ebb? (Though audiences adore Lloyd Webber, many critics have excoriated his shows for their derivative music, banal lyrics and excesses of kitsch).

"You can find criticism in anyone's work," Ellis allows. "The fact is, [Lloyd Webber] does write beautiful music. I think his shows will stay around for a long, long time."

DATEBOOK

"ANDREW LLOYD WEBBER-- MUSIC OF THE NIGHT"

The national tour of the new theatrical concert arrives in San Diego on May 14. Performances Tuesday-Saturday 8 p.m., Sunday 7 p.m., Saturday and Sunday 2 p.m. Through May 19. Civic Theatre, downtown. $22-46; 236-6510 or 220-TIXS.

PAT LAUNER is a freelance writer.

©1996 Patté Productions Inc.