Michael Ball - [Ball is one of the few musical comedy artists to...

[Ball is one of the few musical comedy artists to have distinguished himself <br/> equally as an interpreter of both Andrew Lloyd Webber and Stephen Sondheim, who would seem to be <br/> polar opposites as songwriters.] I'm very lucky that I've gotten to work with both of them,.. I was in Andrew Lloyd Webber's 50th party concert at the Albert Hall. That same year I was in <br/> a special show called Hey, Mr. Producer, a celebration of Cameron Mackintosh's work. There <br/> was a Sondheim section, and Cameron asked if I'd be part of it. I'd already recorded 'Losing My Mind' <br/> from Follies, which is one of my favorite songs of Steve's. But I hadn't yet done a particularly <br/> traditional treatment of it. Steve said he wanted me to do it absolutely straight, the way it was <br/> heard in the original show, which I was delighted about. And he worked with me on it--just him, and <br/> me, and a pianist in a tiny room, for an hour-and-a-half master class on this song. I came away knowing <br/> every nuance; why he wrote everything that he did; why every note was in its place; why the phrasing <br/> was like this--can you imagine how thrilling that was? And he is so articulate in explaining his <br/> work; you can be under no illusion why something is there. When you have that understanding, that <br/> is when his work opens up to you. Of course, they put me between Judi Dench singing 'Send in the Clowns' <br/> and Bernadette Peters doing 'Being Alive.' You try holding your own in that company!

Michael Ball

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[Ball is one of the few musical comedy artists to have distinguished himself <br/> equally as an interpreter of both Andrew Lloyd Webber and Stephen Sondheim, who would seem to be <br/> polar opposites as songwriters.] I'm very lucky that I've gotten to work with both of them,.. I was in Andrew Lloyd Webber's 50th party concert at the Albert Hall. That same year I was in <br/> a special show called Hey, Mr. Producer, a celebration of Cameron Mackintosh's work. There <br/> was a Sondheim section, and Cameron asked if I'd be part of it. I'd already recorded 'Losing My Mind' <br/> from Follies, which is one of my favorite songs of Steve's. But I hadn't yet done a particularly <br/> traditional treatment of it. Steve said he wanted me to do it absolutely straight, the way it was <br/> heard in the original show, which I was delighted about. And he worked with me on it--just him, and <br/> me, and a pianist in a tiny room, for an hour-and-a-half master class on this song. I came away knowing <br/> every nuance; why he wrote everything that he did; why every note was in its place; why the phrasing <br/> was like this--can you imagine how thrilling that was? And he is so articulate in explaining his <br/> work; you can be under no illusion why something is there. When you have that understanding, that <br/> is when his work opens up to you. Of course, they put me between Judi Dench singing 'Send in the Clowns' <br/> and Bernadette Peters doing 'Being Alive.' You try holding your own in that company! Michael Ball

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[ball musical comedy artists distinguished <br/> equally interpreter andrew lloyd webber stephen sondheim polar opposites songwriters ] lucky work webber' 50th party concert albert hall year special show called hey mr producer celebration cameron mackintosh' section asked part recorded 'losing mind' follies favorite songs steve' traditional treatment steve wanted absolutely straight heard original delighted worked -- pianist tiny room hour- -a-half master class song knowing nuance wrote note place phrasing imagine thrilling articulate explaining illusion understanding opens put judi dench singing 'send clowns' bernadette peters ' alive holding company

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