Anonymous
Posted July 16, 2002
Citron's research methods here leave much to be desired, as there are way too many factual errors. The first, and most laughable, is the hypenation of Lloyd Webber's last name throughout the book. Even a new scholar/biographer would at least spell his subject's last name correctly. Also there are many condescending remarks by the author, about musical theatre in general and these composers, that destroy any objectivity and therefore his credibility. Some of his remarks are even backhanded--saying that Sondheim and Lloyd Webber only won Tonys due to lack of credible competition on Broadway. What about the years that they have lost Tonys to others? Save your money.
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More About This Textbook
Overview
"A well-written, engaging account--simultaneously successful as critical history and biographical study--by an author obviously in love with his subject."
--American Theater
"Well worth reading. He supplies a great deal of fascinating biographical information; his musical analyses are blessedly easy to follow; he quotes extensively from critics, and points out positive qualities in both composers which have often been overlooked."
--Times Literary Supplement
Editorial Reviews
Publishers Weekly
Third in Stephen Citron's Great Songwriters series, Sondheim & Lloyd-Webber: The New Musical (preceded by Noel & Cole and The Wordsmiths) demonstrates how musical theater "has done a total about-face" since its inception. Just compare classics like Anything Goes, Oliver! or Guys and Dolls to Hair, Jesus Christ Superstar, Tommy, Rent and The Full Monty, says musicologist, composer and lyricist Citron, to notice the glaring differences between shows made between the 1920s and '60s ("It was a time when plot was secondary") and those made since that time, which have "gone in several directions" including the "oversize theatricality" of Lloyd-Webber and the "intellectual stimulation" of Sondheim. Tracing the two lives from childhood through early careers (initially, Sondheim was solely a lyricist, Lloyd-Webber solely a composer) to the present (the phenomenal, longstanding success of Cats; Sondheim's receipt of the Kennedy Center Honors Medal from then-President Clinton), Citron trains telescopic and microscopic lenses on the two most important living musical theater luminaries. B&w photos. (Aug.) Copyright 2001 Cahners Business Information.Library Journal
In his latest entry of "The Great Songwriters" series (after The Wordsmiths, LJ 6/1/95), Citron profiles Stephen Sondheim and Andrew Lloyd-Webber, two of the late 20th century's most prominent composers for the Broadway and London stages, who, interestingly, share a birthday (March 22). In alternating chapters, the author traces their creative development from tentative neophytes to much-feted giants, integrating the various directions that musical theater has taken. Citron analyzes their productions from both musical and dramatic perspectives, providing relevant excerpts from contemporary reviews and documents. Without sensationalism, he highlights aspects of their personal lives: Sondheim's being the only child in a dysfunctional family and his reticence about his own relationships; Lloyd-Webber's interactions with his composer-father and cellist-brother as well as his three marriages and control issues. The result is a coherent, enjoyable narrative. Recommended for all libraries. (Index not seen.) Barry Zaslow, Miami Univ. Libs., Oxford, OH Copyright 2001 Cahners Business Information.Product Details
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Meet the Author
Stephen Citron is a composer, lyricist, and lecturer. He is the author of Songwriting, the standard reference work on the subject, The Musical From the Inside Out, Noel & Cole, and The Wordsmiths. He lives in New York City.