Lord of the Rings – the Musical as a world musical product or just a British export?
Bibliographic record
Abstract
Abstract The stage musical adaptation of J.R.R. Tolkien’s The Lord of the Rings, began in Toronto, Canada in 2006 and then transferred to London ending its run there in 2008. It is due to embark on a new world tour in 2015. Matthew Warchus, British theatre director created an extravagant, three-act stage production which received its premiere at Toronto’s Princess of Wales Theatre in March 2007. The production designed by Rob Howell, premiered in London in May 2007 at the Theatre Royal, Drury Lane and ended its run after 492 performances in July 2008. The musical was the first stage adaptation of the literary epic and followed the hugely successful film trilogy. A new tour, is being designed to accommodate theatres around the globe, and will launch in New Zealand in 2015 and although the countries of the tour have not been announced, there is much interest amongst Tolkien fans for its come back. The new touring version is billed as retaining the unique, thrilling and spectacular theatrical magic of the original production. The music is by Academy Award winner A.R. Rahman (Slumdog Millionaire), Värttinä and Christopher Nightingale. The lyrics and libretto are by Shaun McKenna and Matthew Warchus. The Lord of the Rings – the Musical has lighting by Paul Pyant, special effects by Greg Meeh, sound by Simon Baker and magic illusions by Paul Kieve. This article reviews the work as commercial product, revival or just colonial export of British or Canadian scenic motifs and stagings. The production began in Canada and reviews wavered between praise and defamation, between a spectacular production of sets and a celebrated new musical score. The link beneath is for the reader to get a sense of the production style and values, if you haven’t seen the musical, yet. https://www.youtube.com/watch?v=RaHRFlPCtsU
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.001 |
| Science and technology studies | 0.006 | 0.003 |
| Scholarly communication | 0.010 | 0.004 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.064 | 0.010 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".