Critic's Notebook; The Musical Returns To America
WHEN the 1980's departed, it was not only the Trump yacht and Drexel Burnham Lambert that sailed into the sunset. Somewhat less conspicuously, the theater's own symbol of a money-crazed decade -- the over-produced English musical -- began its inexorable retreat to the wings. Built on opulent stage effects, London's theatrical spectaculars were as symptomatic of the money-mad 80's as a Malcolm Forbes birthday bash, and in the 1990's, their party, too, seems to be over. In the nearly two years since "Aspects of Love" opened in the West End, no new Andrew Lloyd Webber project has gone much past the press-release stage in New York, London or Hollywood. The only smash hit "English" musical still in the pipeline to New York, "Miss Saigon," is in fact the work of French and American authors. And whatever that production's merits prove to be in its New York incarnation, doesn't it already feel like old news?
