On The Twentieth Century

The role of Lily Garland was a showcase for the divine Madeline Kahn. Legends say that a combination of health problems and creative differences led to Kahn's departure 9 weeks into the run. She was replaced by the delightful Judy Kaye and the show lasted 449 performances.

On the Twentieth Century won Tony's for book, score, and leading men, but soon disappeared. Without a star leading lady critics felt their wasn't much point in reviving it. Marin Mazzie headlined a concert in 2005 and Kristin Chenoweth is dominating the current revival. She faces steep competition in the Tony race but the new cast recording suggests that her performance is dynamite!

"Some thought of On the Twentieth Century as Kiss Me, Kate on a train. But the earlier show, despite its marvelous score, mixes a messy chowder of Shakespeare, operetta and vaudeville, while the later show is above all consistent. ~ Ethan Mordden. One More Kiss: The Broadway Musical in the 1970s. 

Dueling Phantoms

Yeston and Kopit wrote their version first. Webber's was produced first. Yeston and Kopit released their rights to regional theaters first allowing it to be produced around the country.

The Phantom of the Opera was originally a horror story, though both musicals emphasize the tragic romance. When the Phantom's do begin their killing sprees the tones are inconsistent, often promoting as many giggles as gasps.

There was something unwholesome and pathetic about the 1925 Phantom, who scuttled like a rat in the undercellars of the Paris Opera and nourished a hopeless love for Christine. The modern Phantom is more like a perverse Batman with a really neat cave. ~ Roger Ebert on the 2004 Webber Film.

What transpires from this point to the end of the show is a frustrating mix of comedy, spectacle, sentimentality, revelation and suspense, with great highs and great lows. ~ L.A. Times on Yeston and Kopit's Phantom. 

I've written about Webber's sequel here.