Producer, Britain, America discussed on Q: The Podcast from CBC Radio

Automatic TRANSCRIPT

Like to have off piste perform first in the theatre but no theatre producer was remotely interested in a musical about jesus christ they thought that was the worst idea than anybody ever had on that so we we accepted the offer to recalled it on wrote it really if you light like a musical radio play that makes any sense it it had to be something that people could take home and followed the story in their own home without any visual interpretation of it were where you ever intimidated i spend a lot of time thinking about the risks we take were young were you ever intimidated at all that you were taking on the socalled greatest story ever told now i daddy we wear you've got to remember at the time in nineteen sixty nine when we did the original single that the walls of jesus movement till they we didn't really realize that back in britain of of the was in america and account as the cyclist is everything we didn't know when we were writing it back in britain but we didn't know that we'd hit something or we were writing something that was gonna hit a cold in america for just tuning in you're listening to queue i'm speaking with andrew lloyd webber the songwriter musical icon behind broadway juggernauts like jesus christ superstar if vita and a certain musical inspired by t s eliot yearly gold cuts come out to night jellicoe cuts come one komo the jellicoe moon is shining right jelly calls come to the jellicoe bowl jellicoe cats are black and white gold capsule rather small jellico cut saw marianne break and pleasant to here when they got a whoa jellicoe guts have i'll go down.

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