Sting’s ‘the Last Ship’ Sets Sail, In Concert

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Phil Comments 0 Gustavo Dudamel rehearsing members of YOLA for their Hollywood Bowl debut in 2009. (Lawrence K. Ho / Los Angeles Times) Also By Mark Swed Los Angeles Times Music Critic September 26, 2013, 5:16 p.m. Gustavo Dudamel will do it again. He will begin his fifth season as Los Angeles Philharmonic music director like he did his first — offeringa free concertwith the Youth Orchestra LA, which he founded with the L.A. Phil, before going on to lead a very tony gala at Walt Disney Concert Hall. The big occasion for this year will be a celebration of Disneys 10th anniversary. What will be different, though, is that the free concert at 4 p.m. Sunday will, this time, be at Disney Hall, not the Hollywood Bowl. Since the tickets have already been distributed, the program will also be shown on a free live simulcast in Grand Park. PHOTOS: Gustavo Dudamel career in pictures What will also be different — besides the fact the YOLA players are considerably more advanced and worldly than they were five years ago (some even accompanied the L.A. Phil to London earlier this year) — is that for the first time the young musicians will sit side by side with the L.A. Phil for a performance of the bounding, folk song-inspired fourth movement of Tchaikovskys Second Symphony, known as The Little Russian, as well as for Marquezs just as upbeat and even more danceable Conga del Fuego. What wont likely change, though, is the sheer inspirational fervor Dudamel inspires in student musicians and the likelihood of tears in the eyes of even the hardest-bitten unsentimental music professionals in the audience who think theyve seen it all. As an added bonus, Herbie Hancock will start the afternoon with a selection of solo works.

Sent! A link has been sent to your friend’s email address. Join the Nation’s Conversation To find out more about Facebook commenting please read the Conversation Guidelines and FAQs Sting’s ‘The Last Ship’ sets sail, in concert Elysa Gardner, USA TODAY 10:37 a.m. EDT September 26, 2013 Pop star introduces songs from a musical – his first – in intimate performance. Sting performs ‘The Last Ship’ to benefit The Public Theater on Sept. 25 in New York City. (Photo: Kevin Mazur, WireImage) Singer/songwriter was joined by a small gathering of musicians in a 260-seat venue Writing for other characters’ voices “freed me up” to craft new songs, Sting says New tunes showcase folk textures and propel story informed by Sting’s youth SHARE 8327 CONNECT 63 TWEET COMMENTEMAILMORE NEW YORK Who will play Sting on Broadway next year? That was the burning question posed sort of Wednesday night at the Public Theater, as the pop veteran launched a 10-night run of benefit concerts introducing songs “inspired by” his first musical, The Last Ship, due to arrive on the Main Stem in fall 2014. Billed as “An Evening With Sting: The Last Ship,” the show placed the international star in the Public’s 260-seat Anspacher Theater, where he explained to an audience including fan-club members and lottery winners how he conceived his virgin project as a musical-theater composer/lyricist. Set in Northeast England, where he grew up, it features as its hero a man who is, like Sting, the son of a shipyard worker, who leaves his small community and remains “very ambivalent about where he comes from.” His name is Gideon not a far cry, Sting wryly noted, from his own given name, Gordon (Sumner). “There’s some autobiography there,” he said. But not too much. Sting’s newly released album, also titled The Last Ship and featuring songs from the upcoming musical, is his first collection of new tunes in a decade. It came to fruition, he told the crowd, only after he was freed from writer’s block by the concept of crafting songs to be delivered by other people, representing different perspectives.

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Hammett: He definitely has an intensity about him onscreen that’s good for us, because his onscreen performance balances out the intensity of our performance. You weren’t there for the narrative shots, so you really didn’t know what this thing was going to look like in the end. Hammett: It was a total leap of faith, a total shot in the dark. When you saw it for the first time, what elements stood out? Hammett: After reading the synopsis of the script numerous times, I was having problems just grasping it all. So I asked Nimrod for storyboards, and then he storyboarded the entire thing out and gave it to all of us. Then, for me, it was a lot more clear. It was a lot more consistent in terms of a storyline emerging. But when we first saw the first edits, after they shot the footage for the narrative, I was scared [laughs]. I was thinking, “Wait a second, this is not what I was thinking it was gonna turn out like.” It needed a lot of work. And me not being experienced in making movies, I didn’t know that that was part of the process you see a rough cut and you put in your ideas, your opinions and whatnot, and you slowly help it and push it along and try to get it as close to your vision as possible. As apocalyptic a tale as it is, the story is partly about loyalty, and Metallica has a loyalty as a unit and probably your crew and everyone who works with you. But we never find out the true story, because there is something major that is not revealed.