The songs, though, move with enjoyable eclecticism through folk via Bollywood to pop, echoing the musical backgrounds of the Indian/Finnish/Anglo-American compositional team of AR Rahman, Värttinä, and Christopher Nightingale. Stephen Sondheim’s rule was that characters start singing when they can no longer speak, but here they more tend to shut up to belt out. During the long sections inside the tiny theatre, they cram in battles, orc attacks, treks across land, over mountains or through caves and lavish production numbers involving 20 actors or musicians (several performers also play instruments).Īs with the musical version of The Third Man currently running at the Menier in London, speech and score sometimes feel more competitive than complementary. The creative team ought to be listed in a Guinness book of theatrical records. Undeniable destiny … Louis Maskell in The Lord of the Rings: A Musical Tale
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