Replica of the chandelier is made up of 6,000 beads. It is 3 metres wide and weighs one ton. 130 cast, crew and orchestra members are directly involved. There are 230 costumes, 14 dressers, 120 automated cues, 22 scene changes, 281 candles. 250 kg of dry ice and 10 fog and smoke machines are used. 27 articulated lorries transfer the set between theatres. REVIEWS "It's fantastic, fabulous and phantasmagorical! From the eerily flickering lights that greet you outside Her Majesty's Theatre to the last, glorious curtain call, Andrew Lloyd Webber's long-awaited new musical, Phantom of the Opera, is a triumph." John Blake, Daily Mirror, 10th October, 1986 "Four words sum up the unstoppable success of Andrew Lloyd Webber's triumphant re-working of this vintage spine-tingling melodrama. Stars, spectacle, score and story." Jack Tinker, Daily Mail, 10th October, 1986 AWARDS
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Respite from the Holloway household was gained when he spent one month a year in London with his mother's kindly sister Aunt Georgie and her husband, pre-Raphaelite painter Edward Burne Jones and their children. Those months of December were a veritable paradise to Kipling; North End House was constantly brimming with visiting friends and relatives, and the homey and artistic effects of the affectionate couple were everywhere. Their home echoed with laughter and the patter of little feet or was eerily hushed as the children raptly listened to fantastic stories told by Edward. They also played the organ, sang songs, dressed up in costumes and acted out plays. In January 1878 Kipling was admitted to the United Services College, at Westward Ho!, Devon, a school founded a few years earlier to prepare boys for the armed forces. The school proved rough going for him at first, but later led to firm friendships, and provided the setting for his schoolboy stories Stalky & Co.
surrounded on all sides by mountains and desert. The cities are separated by the thin trickle of the Rio Grande, which flows through concrete channels, built to put an end to the river's natural habit of changing course and muddying boundaries. One side is Texas(US); the other, Mexico. The recent war among various gangs and drug cartels has made Juárez one of the world's most dangerous cities, while across the way, El Paso remains calm, even eerily prosperous. It consistently ranks as one of the safest cities in the United States. Giving birth in El Paso (US side) would deliver their children a precious advantage: it would make them Americans. Any child born at Arnold's birth center would possess American citizenship, courtesy of the 14th Amendment, and with it the ability to cross freely back and forth. El Paso, with its large, willing, cash-paying clientele, made an ideal destination for students
which often blends their own live performances with the recorded songs of nature. Tonight's concert ... has included a lyrical duet with a school of singing humpback whales and a haunting serenade build around the keening of eagles. Now, as the evening draws to a close, Winter and his group are providing the instrumental accompaniment to the tape-recorded singing of a pack of free-roaming wolves. The rhythmic, otherworldly wolf serenade echoes eerily in the monumental quiet of the cathedral's soaring spaces. The wolves raise their voices in raw howls of sheer animal power, then let them soften to haunting, melancholy cries. [With Winter's moody soprano sax in call and response fashion, the effect is] to lift listeners out of their everyday lives, and into another world. And as the wolf serenade reaches its emotional crescendo, that's exactly what is happening to Bill. [...] He feels deeply, serenely at peace
emotional effect. T h e signs o f postmodernism are also present in the film's content. T h e nightclub where Vincent and M i a dance is a perfect postmodern microcosm. Contemporary characters find themselves in an environment peopled by icons of former eras — M a r i l y n M o n r o e , James Dean, Elvis Presley, Jayne Mansfield, Ed Sullivan, Buddy Holly, Dean M a r t i n , and Jerry Lewis. M o s t of these people are dead, but they eerily live on through their i m m o r t a l images. Vincent and M i a per form novelty dances from the 1 9 6 0 s to music that hasn't been heard in movies for thirty years. Pulp Fiction is part of the pop-culture jet stream, flowing easily out of the current collective unconscious, charged with images and sounds from previous eras. RELATIVITY A N D W O R L D CULTURE Pulp Fiction is postmodern also in its sense of cultural relativity. Although the film
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