Posted 19 February 2007 - 09:45 PM
Posted 19 February 2007 - 10:05 PM
If it's anything like it is with films, then I wouldn't hold out much hope on them being as good...
Posted 19 February 2007 - 10:18 PM
Posted 19 February 2007 - 10:39 PM
Divorce Me, Darling is a sequel to The Boyfriend. Let 'Em Eat Cake is a sequel to Of Thee I Sing. Utopia Ltd. features Captain Corcoran from HMS Pinafore. Henry IV Pt 2 follows Henry IV Pt 1. Charles Strouse wrote Annie 2 to capitalise on the success of Annie, but it flopped.
Posted 20 February 2007 - 09:05 AM
Posted 20 February 2007 - 11:06 AM
Broadway has been very good to me. But then, I've been very good to broadway.
Posted 20 February 2007 - 11:27 AM
I had no idea it was a film as well, I've only heard of the version that opened in the US (Washington?) - originally titled Miss Hannigan's Revenge, then simply Annie 2. I think that there's an account of it in 'Not Since Carrie'
As for film musical sequels - Grease 2 is pretty awful...
Posted 20 February 2007 - 11:40 AM
As for Phantom 2, this sounds like rehashed news to me... I thought he asked the Queen Mom's favourite, Freddie Forsyth, to write a sequel to the story, nothing came of the musical adaptation but I am sure the book was written.
Posted 20 February 2007 - 11:44 AM
The author of The Day of the Jackal (1971) and Icon (1996) steals more then a page from Gaston Leroux and Andrew Lloyd Webber to bring Erik, the Phantom of the Paris Opera, to America bearing his memories of Christine. Forsyth opens his continuation in 1906 with Antoinette Girya former Paris Opera ballerina who became mistress of the corps de ballet, now 58 and dying of cancertelling the familiar story of Christine de Chagny, the Phantom's beloved, currently the greatest diva in Europe. Giry first saw 16-year-old Erik as a cruelly deformed sideshow freak, with one side of his face looking like molten candle wax and maggots writhing in wounds caused by his chains. Later she freed Erik and nursed him, letting him wander the seven floors under the opera house. Having learned carpentry from his brutal father, who had sold him to the circus, Erik filched what he needed and built his own quarters, then taught himself all the works in the opera's enormous library. He fell in love with Christine, coached her singing, and abducted her once she became a star. When the police and pregnant Christine's beau Vicomte de Chagny saved her, Erik fled. Antoinette found him and, in Forsyth's point of departure from Gaston Leroux, put him on a freighter bound for New York. At this point Erik takes up the story. Starting as a fish-gutter, he becomes as wealthy as Croesus. At first he wants a screened and curtained box at the new Metropolitan Opera, but instead he joins Oscar Hammerstein as a secret partner in opening a house of his own. His eye is on the renowned soprano Nellie Melba. Just as his plans are ripening, however, Christine comes to Manhattan to sing at the Met's inaugural opera. Will she and the Phantom sing together again? Will he see his son at last? Forsyth captures the era with a brilliant series of pasteboard narrators who stand in for Manhattan's garish liveliness. Please understand, though, it's all perfectly operatic.
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