Kopit was crushed, but Yeston was more sanguine. By then, the North American rights would have lapsed, and the material would be in the public domain. The feeling was that if Lloyd Webber's version were a hit in London's West End, a Broadway production was sure to follow. Despite Kopit and Yeston's solid credentials, no Broadway producer was willing to pit them against the man who taught "Cats" to sing. A set designer was hired.Īnd then, "There was an announcement in Variety that Andrew Lloyd Webber was going to do a musical of 'Phantom of the Opera,' and I found that astonishing and terrible," Kopit says. Holder, who planned to direct the musical, held backers' auditions. a real traditional book musical," in the style of Lerner and Loewe or Rodgers and Hammerstein. One reason may have been the show's setting, which allowed him to write what he calls "a musical love letter to Paris," a score that summoned up memories of Edith Piaf recordings he heard as a boy.Ĭombining this French-flavored score with Kopit's carefully crafted book, the collaborators came up with what the composer proudly describes as "a quintessential, good old-fashioned American musical theater piece. Why are we doing this?' and a song would occur." I would go home and say, 'This is a ridiculous idea. I couldn't stop writing it, and that told me something. "I still felt it was a dangerous and terrible idea, but something strange happened. Yeston, however, continued to have doubts.
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