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Feb 01, 1991
THE INDEPENDENT
Sting has chosen to open his world tour in small theatres rather than big arenas. Giles Smith met him in New York. Sting's new live show opens, naturally enough, with a string of songs from his latest album, 'The Soul Cages'. Then comes a pause during which, ruffling his hair with calculated diffidence, he leans into the microphone and asks, "Any requests?" At which point - bedlam. The audience, until now seated in what, by American standards, would have to count as calm acquiescence (ie outbreaks of shrill whistling and chimp whoops at merely 15 second intervals) suddenly bursts into a barely decipherable roar, some people even rising out of their chairs to stake a claim: 'Every Breath You Take', 'Message in a Bottle', 'Don't Stand So Close To Me', 'So Lonely' (Someone near me appeared to be shouting, again and again, "Kiss my ass!" but he seemed to be having a good time and probably intended it kindly.) In short, too many requests to honour...
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Jan 04, 1991
THE SUNDAY TIMES
Star with a wandering attention: Rock stars with misgivings about the ''star'' bit have become a modern cliche. Sting by contrast and despite some routine disclaimers has always seemed pretty comfortable with the fame, the fans, the Wogans and all the other high-profile privations that come with being a star. What Sting doesn't like so much is the rock part. And while in the past and notably in The Police a certain ambivalence towards the hand that feeds may have produced a useful creative tension, on his third solo album, 'The Soul Cages', the strain is definitely beginning to show...
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Jan 02, 1991
THE ST. LOUIS POST-DISPATCH
A time of healing - Sting's 'Soul Cages' confronts grief over his parents' deaths: Sting is the pop idol adults can admire. His infallible instinct for hooks made the Police one of the world's biggest bands, but his ventures into jazz-inflected rock on 'The Dream of the Blue Turtles', 'Bring on the Night' and 'Nothing Like the Sun' made him an acceptable figure even to the most recalcitrant members of a thirtysomething generation. He is an active and highly visible supporter of Amnesty International and the preservation of the Brazilian rain forest. Now 39, he is handsome, but no pretty boy, and his movie roles and his appearance on Broadway last year as Macheath in a production of Bertolt Brecht's 'Threepenny Opera' attest to a range of talents that is increasingly rare in what often seems the increasingly one-dimensional world of pop culture...
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Jan 02, 1991
THE NEW YORK TIMES
Sting's 'Soul Cages': "I don't think our modern myths and rituals are able to deal with death," said Sting the other day. "The modern way to deal with death is to try and ignore it, which is what I did." The 39-year-old pop star was reflecting on the death a year and a half ago of his father, a milkman who lived in the industrial north of England, and its powerful effect on his third solo album, 'The Soul Cages', which A&M Records will release next week...
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Jan 01, 1991
THE LOS ANGELES TIMES
A conversation with Sting. Sting's new album - his first in more than three years - is a sombre, intensely personal work that grew out of the British rock star's confusion and grief following the death of his father in late 1987. But Sting seemed unusually at ease on the eve of the album's release last week as he sat, surrounded by his family, in the living room of his spacious, two-story co-op apartment on Central Park West...
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Dec 02, 1990
CBS 60 MINUTES
Sting's song, 'Every Breath You Take', sold more than 15 million copies world-wide, and Sting's sales stand at more than 50 million albums. By any standard, he is a phenomenon. But we found him to be a lot more than just a singer-songwriter and rock superstar. This Sting was christened Gordon Sumner back in Newcastle, England, so who gave him the name Sting? When he was 18 years old playing in a local jazz band, the older guys in the band gave him the name. It had to do with his style...
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Nov 02, 1989
FAME
The Weill Thing: Sting puts the bite back on Broadway with Brecht and Weill's 'The Threepenny Opera'. "I want to talk about the core of the play," Sting says, narrowing his eyes and peering, un-rockstar-like, across the desk in his manager's office, surrounded by the framed platinum disks that attest to his triumph with the Police and, more recently, as a solo rocker. He's referring to Bertolt Brecht and Kurt Weill's 'Threepenny Opera'...
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Nov 01, 1989
THE LOS ANGELES TIMES
Sting not stung by poor '3 Penny' reviews. I feel like I'm going inside to view the body... you know, like in a wake," Janis Margolin said, giggling nervously as she stood in line outside the Lunt-Fontanne Theatre on 46th Street. The Long Island receptionist had been looking forward for weeks to seeing rock singer Sting make his Broadway debut in a new production of Bertolt Brecht and Kurt Weill's biting musical '3 Penny Opera', but she and her three friends were now apprehensive...
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Nov 01, 1989
THE NEW YORK TIMES
A Macheath for the 90's? Seated in the first row of the orchestra at the National Theater in Washington, a few blocks from the White House, John Dexter, the Tony Award-winning director of 'M. Butterfly' and 'Equus', is rehearsing Sting, Maureen McGovern and other cast members in Act I, Scene 2 of '3 Penny Opera'. It is Thursday afternoon Sept. 28, two weeks since the show, in town for a pre-Broadway run, was blasted by the local critics, who belittled Sting's acting ability, said his singing voice was barely audible and described the production as murky, boring and poorly directed...
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Nov 01, 1989
THE DAILY MAIL
The Star who doesn't like the safe life. The knives were out and sharpened before Sting had even opened his mouth for his Broadway debut. This is a town where cynicism is a language as well as a way of life. How dare an English rock star - especially an English rock star from a defunct 80's band - trespass on their precious on their precious time, trying out a new, and possibly much-needed, career move...?
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