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My Elusive Drug
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”Lestat” Has Been Transformed, Says Elton

Friday 24
March 2006 @ 16:19

When the curtain goes up on the first Broadway preview of the Anne Rice-inspired musical Lestat tomorrow–coinciding with Elton’s birthday–what’s on stage will represent lessons the creative team learned from its recent San Francisco tryout.

What’s more, composer EJ, lyricist Bernie Taupin, librettist Linda Woolverton and director Robert Jess Roth, along with Matt West, credited with musical staging, will refine the work further with their cast in the weeks leading to the April 25 opening night, Playbill has disclosed.

As previously reported, choreographer Jonathan Butterell has been enlisted to give his perspective on the staging. Warner Bros. Theatre Ventures, making its producing debut on Broadway, brought him onto the project as a little extra insurance that the show would be in shape.

The San Francisco company remains intact for Broadway (with some additions), featuring Hugh Panaro as the title vampire (the musical is drawn from Rice’s gothic novels under the umbrella The Vampire Chronicles) and Carolee Carmello (Mamma Mia!, Parade) as Gabrielle, Drew Sarich as Armand, Jim Stanek as Louis, Roderick Hill as Nicolas, Michael Genet as Marius and Allison Fischer as Claudia. Lestats cast of sixteen features Rachel Coloff, Nikki Renee Daniels, Joseph Dellger, Colleen Fitzpatrick, Sean MacLaughlin, Patrick Mellen, Chris Peluso, Dominque Plaisant, Megan Reinking, Sarah Solie, Amy Sparrow, Will Swenson, Steve Wilson and Tommar Wilson.

Collaborators Woolverton, West and Roth were on the creative team of Broadway’s hit Beauty and the Beast.

Lestat is Elton’s third musical for Broadway following The Lion King and Aida.

He says the changes to the script and score are “radical.”

That includes two new songs.

 “One’s called My Beautiful Boy, and one’s called Right Before My Eyes.” As with London’s Billy Elliott, he wrote an extra song quite late in the day, ”and we left some songs out. And that’s par for the course when you’re a composer for a musical. You kinda have to leave your ego at the door and see some songs you really like bite the dust and you have to write some other ones because, in every show, the story changes.”

The storyline has also undergone a switch. In fact, ”it’s still changing in Billy Elliott, to be honest with you. That’s still going on. We’re just trying to sharpen it up and make it better. And I think that’s the way a musical has to keep going. Otherwise, you don’t keep it fresh, and it becomes stale. But when you’re actually working on a musical and it hasn’t actually opened yet, you want to get it as good as it can be. You’re working on it right up to the eleventh hour. And that’s what we’ll be doing with Lestat, with the two new songs”

Elton says, “My Beautiful Boy is done by Lestat‘s mother, Carolee Carmello, and Right Before My Eyes is done by Lestat, Hugh Panaro.”

The first and second acts are also different now, with more ensemble pieces. This isn’t unusual since the beginning of ”Billy” changed about ten days prior to its opening, according to Elton.

“That seems to be the way musicals work. It’s an evolutionary process.”

While most people probably think of pop music when they think of the singer, he doesn’t classify the Lestat selections as soft rock.

Lestat I found to be particularly draining because the songs are much longer, more complex than anything else I’ve ever written,” but he enjoyed the process. “Theyre much more wordy songs. It’s much more serious subject. You’re writing about a vampire, and you’re writing about a more complex situation than you normally would. Billy Elliott is a ’70s pastiche, and it’s very straightforward. It’s political, but it’s very straightforward. Here, youre writing stuff that’s coming from the 19th century and its historical base as well so you’ve got to get the music. It’s 180 degrees away from Billy Elliott. I’ve never done anything like this before. Never. I think it’s my finest piece of work as far as writing for the stage goes.”

The score is also different because there are no electronic instruments in it.

 “I wanted it to be like that. It’s totally organic, in a way. We may have to use a couple of synthesizers to emulate string sounds because the actual score is quite hugeand we just can’t afford to have that kind of orchestra on Broadway.

“For me, it’s not rock ‘n’ roll whatsoever. I mean, it changes in the second half, when it goes to New Orleansand a little New Orleans music creeps in. But, generally, it’s totally different from Aida and Billy and Lion King. I don’t really see the point of doing something, one after the other, if you’re not going to do something different.”

On the topic of the two failed vampire shows Dance of the Vampires and Dracula that came before Lestat, Elton has admitted to not seeing them, ”so I can’t judge what they were like, but we did [go] into this, saying there are going to be no dancing vampires and no garlic. We tried to stay about from the cliched version. But you can’t be bothered by what everybody else has done. It is a difficult subject matter. We know that’s a challenge. The others didn’t do very well, but we’re just concerned with what we’re doing.”  

Here’s how the producer bills Lestat: “The romantic and heartbreaking story of the extraordinary journey of one man who escapes the tyranny of his oppressive family only to have his life taken from him. Thrust into the seductive and sensual world of an immortal vampire, Lestat sets out on a road of adventures in a quest for everlasting love and companionship but is forced to reconcile his innate sense of good with his primal need to exist.” 

Anne Rice is pleased, calling  ”the fulfillment of my deepest dreams.” She believes, the music and lyrics have captured the pain and the passion of the characters perfectly, and the entire adaptation has re-created the very essence of the books.

”Working with the whole team Rob Roth, Linda Woolverton, and of course Elton and Bernie has been one of the most rewarding experiences of my entire career. The talent, the brilliance, and the generosity of these folks is beyond belief. I’m humbled; I’m grateful; and I’m so excited that I can hardly stand it. Lestat, Louis and Claudia are about to be reborn.”

In production notes, Elton said, “Interview with the Vampire is one of my favourite books and Anne Rice is one of my favourite authors. Lestat is the first stage musical that I’ve written with Bernie which makes it even more special for me.”

“Anne had always loved the idea of seeing her Vampire Chronicles set in some sort of serious and seductive musical setting and for all of the parties involved this is the opportunity of a lifetime,” added Bernie. 

The creative team includes scenic designer Derek McLane, costume designer Susan Hilferty, lighting designer Kenneth Posner, sound designer Jonathan Deans, visual concept designer Dave McKean, wig and hair designer Tom Watson, make-up designer Angelina Avallone, fight director Rick Sordelet and projections coordinator Howard Werner.

Lestat has orchestrations by Steve Margoshes and Guy Babylon, with musical supervision also by Guy; musical direction, incidental music and additional vocal arrangements by Brad Haak, and vocal arrangements by Todd Ellison.

The playing schedule for Lestat during previews is as follows: Monday through Saturday at 8 PM, with matinees Wednesday and Saturday at 2 p.m., but no 2:00 matinees Wednesday March 29 or Wednesday April 26. There will be an added 2 p.m. matinee on Friday April 28. The regular playing schedule for Lestat, beginning Tuesday May 2 is as follows: Tuesday at 7 p.m., Wednesday through Saturday at 8 p.m., with matinees Wednesday and Saturday at 2 p.m., and Sunday at 3 p.m. Tickets range from $65 to $110, and can be purchased through Ticketmaster at (212) 307-4100.