Also credited on2 works
These come off the person record, which names a work and not a production. So we can say this name is attached to the work and we cannot say which staging, or in what capacity. For a composer or a writer that is the whole career we hold; there is no cast list to find them in.
In the literature8 passages
- In many ways, Lionel Bart (1930-99) exemplifies the post-war British musical. Unlike any of his American counterparts, he actually moved into musical theatre from the rock ’n’ roll world. He continued to straddle both spheres: his circle of friends included Coward and Rattigan as well as The Beatles. Although he began his career writing r…ebooks/Atkey, Mel/Million Miles from Broadway_ Musical Theatre Beyond New York and London, A - Mel Atkey.txt
- Founded by Joan Littlewood as Theatre Workshop in 1953, the theatre has always nurtured working class writers and composers, including Lionel Bart , whose Fings Ain’t Wot They Used T’Be opened there on 17 February 1959, then transferred to the Garrick for a two-year run. Three years later, Oh, What a Lovely War! transferred to both the We…ebooks/Atkey, Mel/Million Miles from Broadway_ Musical Theatre Beyond New York and London, A - Mel Atkey.txt
- Sandy Wilson did it in The Boyfriend, Lionel Bart did it in Oliver, Frank Loesser did it in The Most Happy Fella, Meredith Willson did it in The Music Man and Noel Coward did it throughout his lifetime. Beyond those few individuals, and except for Mr Coward (for the others were isolated works in long careers), I know no other case in the…ebooks/Citron, Stephen/Musical From the Inside Out, The - Stephen Citron.txt
- English classics have not always worked as musicals. Lionel Bart's Oliver remains popular. Pickwick enjoyed popularity in London, not New York. One of the most innovative adaptations of Dickens was Rupert Holmes' 1984 The Mystery of Edwin Drood, which Dickens left unfinished. Holmes allowed the audience to vote on the ending. (On the orig…ebooks/Engel, Lehman/Words with Music_ Creating the Broadway Musical Libretto - Lehman Engel.txt
- And the Best Score Tony goes to…Lionel Bart for Oliver! Granted, three of Bart’s songs—“As Long As He Needs Me,” “Who Will Buy?” and “Where Is Love?”—have had a few recordings, too. But they can’t compare to Stop the World’ s three. Still, the rest of Oliver’ s score is admittedly solid.ebooks/Filichia, Peter/B007L4OWCU EBOK - Peter Filichia.txt
- No one begrudges the Tony to Lionel Bart’s Oliver! or nominations for Coleman and Leigh’s Little Me or Newley and Bricusse’s Stop the World. But now try to find someone who’ll support a Tony nomination for Milton Schafer and Ronny Graham’s Bravo, Giovanni over Sondheim’s score. Today many agree that Sondheim wrote one of musical theater’s…ebooks/Filichia, Peter/B007L4OWCU EBOK - Peter Filichia.txt
Passages naming this person, found by keyword across 178 books. A keyword match is not a biography, and a common name will pull in the wrong one.
What this page does not know
- What this person played. No cast list we hold records a character against a performer.
- Any staging. This name appears in no production cast list we hold — 1,877 of 7,139 people are in that position, most of them writers, composers and designers rather than performers.
- Which of the credits above the roles on this record — composer, lyricist, book writer — apply to. The roles sit on the person and never on a credit, so a director who also acted looks the same here as one who did not.