Paige's first professional appearance was in the UK tour of the Anthony Newley/Leslie Bricusse musical The Roar of the Greasepaint—the Smell of the Crowd. She made her West End debut in Hair, and went on to featured roles in Jesus Christ Superstar, Nuts, Grease, and Billy (a musical adaptation of the film Billy Liar.)
In 1978, Hal Prince offered the still relatively unknown Paige the title role in Tim Rice and Andrew Lloyd Webber's Evita after Julie Covington, who played the role on the album turned down the part. This proved to be the defining moment in her evolution to the self proclaimed title "First Lady of British Musical Theatre".
Paige has portrayed some of Lloyd Webber's most notable female characters, originating the role of Grizabella in Cats (a role she reprised for a video release). She took on the role late in rehearsal when the actress Judi Dench had to pull out due to a torn Achilles tendon. Her performance of the song Memory from that show is her signature piece.
In 1994, Paige took over the role of Norma Desmond in Lloyd Webber's Sunset Boulevard when Betty Buckley was ill, before stepping into the part full time the following year. She transferred to the American production to make her Broadway debut in a performance that Lloyd Webber described as "musically terrific" in 1996, staying with the show until it closed the following year. In 1998, Paige made a guest star appearance at the Andrew Lloyd Webber, fiftieth birthday celebration in the Royal Albert Hall. She sang Memory and Don't Cry for Me Argentina.
By no means has Paige limited her theatre credits to Lloyd Webber projects. In 1986, she appeared as Florence in Chess, (lyrics by Tim Rice, music by Benny Andersson and Björn Ulvaeus, formerly of ABBA), a role she had originated for the 1984 RCA double-disc concept album. The show was notable at the time for its set, which featured a large, tilting stage that resembled an illuminated chess board, with a proscenium built from television screens. For this role Paige was nominated for Laurence Olivier Award in a category Outstandng Performance by an Actress in a Musical.
She followed this success with a hit revival of Cole Porter's Anything Goes in 1989 which she co-produced with Tim Rice, based on the contemporary US (Lincoln Center) production starring Patti LuPone. In 1993, she embarked on a troubled run as famed French chanteuse Édith Piaf in Pam Gems' musical play Piaf (1993). In 2000 she appeared in another acclaimed revival, Richard Rodgers and Oscar Hammerstein II's The King and I, in which the King was played by Jason Scott Lee.
In 2004, she sang the role of Mrs. Lovett in the New York City Opera production of Stephen Sondheim's Sweeney Todd. In June 2007 Paige will play the title role in the musical comedy The Drowsy Chaperone at London's Novello Theatre.
Paige also has had success in the UK singles charts. I Know Him So Well (from Chess), her duet with Barbara Dickson, held the #1 position in the British charts for four weeks, and still remains the biggest selling record by a female duo in the Guinness Book of Records. She also had a top ten hit with Memory from Cats. Additionally, she has had eight consecutive gold and four multi-platinum albums.
Paige released her first full studio album of new recordings in twelve years, "Essential Musicals" in October 2006. It includes popular songs from musicals identified by a poll on her radio show.
Paige has hosted her own BBC television specials as well as starred in several films for the network, and has also performed in a number of televised Royal Variety Shows. Arts commentator Melvyn Bragg hosted a special edition of The South Bank Show about Paige's career in 1996, entitled The Faces of Elaine Paige. She made special recordings of some of her most famous songs exclusively for the programme. It is frequently shown on PBS in the USA.
More recently, Paige has focused on television appearances, playing Dora Bunner in the 2004 ITV adaptation of Agatha Christie's A Murder is Announced, before performing a guest role as a post mistress in Where the Heart Is.
In September 2004, Paige began a weekly radio show, Elaine Paige on Sunday, on BBC Radio 2, featuring music from musical theatre and film scores. Occasional interviews are also featured, having included theatre impressario Cameron Mackintosh, actress Angela Lansbury, the Pet Shop Boys and Elton John. Paige's show has been described by Elisabeth Mahoney of The Guardian as a "rare wrong move" on the part of Radio 2.
I Know Him So Well
Elaine Paige Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Perfect situations must go wrong
But this has never yet prevented me
Wanting far too much for far too long
Looking back, I could have played it differently
Learned about the man before I fell
But it took time to understand the man
Wasn't it good?
(Oh so good)
Wasn't he fine?
(Oh so fine)
Isn't it madness?
He can't be mine
But in the end he needs a little bit more than me
(More security)
He needs his fantasies and freedom
I know him so well
No one in your life is with you constantly
No one is completely on your side
And though I move my world to be with him
Still the gap between him is too much
Looking back I could have played it differently
One or a few more who can tell
But I was ever so much younger then
Now at least I know I know him well
Wasn't it good?
(Oh so good)
Wasn't he fine?
(Oh so fine)
Isn't it madness?
He can't be mine
Didn't I know
How it would go from the start if I knew
Why am I falling apart?
Wasn't it good?
Wasn't it fine?
Isn't it madness?
He can't be mine
But in the end he needs a little bit more than me
(More security)
He needs his fantasies and freedom
I know him so well
It took time to understand him
I know him so well
The song “I Know Him So Well” by Elaine Paige & Barbara Dickson delves into the complexities of a romantic relationship between two people whose personalities are not compatible. The lyrics suggest that while the two individuals in the relationship deeply care for and understand each other, they are different in fundamental ways that prevent them from being together long-term. Both singers reflect on the time they have spent with this person, and how they have come to know him so well - his quirks, his dreams, his fears, and his desires. However, they also acknowledge that despite their deep understanding of him, he is unable to provide the security and stability they need from a partner.
The lyrics show a sense of acceptance and almost resignation from both singers as they come to terms with the reality of the relationship, that “nothing is so good it lasts eternally” and that sometimes perfect situations “must go wrong”. The song conveys a mix of emotions - nostalgia, regret, and sadness - as they reflect on what could have been, but also a sense of closure and acceptance that they have gained a deep understanding of this person they have loved.
Line by Line Meaning
Nothing it so good it lasts eternally
Even the best things may not last forever
Perfect situations must go wrong
Ideal circumstances can turn sour
But this has never yet prevented me
Despite knowing things may not work out, I still hope for the best
Wanting far too much for far too long
Longing for someone or something for too long
Looking back, I could have played it differently
Reflecting on past actions and wishing I had made different choices
Learned about the man before I fell
Getting to know someone before becoming emotionally invested
But it took time to understand the man
Realizing over time who the person truly is
Now at least I know I know him well
Feeling confident in my knowledge of who the person is
Wasn't it good?
Reflecting on the positive aspects of the relationship
(Oh so good)
An expression of how great the relationship was
Wasn't he fine?
Admiring the person's attractiveness and qualities
(Oh so fine)
An expression of how attractive the person was
Isn't it madness?
Feeling a sense of craziness or irrationality about the situation
He can't be mine
Realizing that the person cannot be with me
But in the end he needs a little bit more than me
Understanding that the person seeks something different than what I can offer
(More security)
Specifically needing more stability or certainty in life
He needs his fantasies and freedom
Recognizing that the person wants space to pursue their own interests and desires
No one in your life is with you constantly
Acknowledging that no one can be there with you all the time
No one is completely on your side
Knowing that even close friends or partners may have different opinions or motivations
And though I move my world to be with him
Going out of my way to be close to the person
Still the gap between him is too much
Recognizing that there are fundamental differences or distance between us
One or a few more who can tell
Wondering about the different paths my life could have taken
But I was ever so much younger then
Reflecting on how much I have changed since the beginning of the relationship
Didn't I know
Questioning whether I should have been aware of the outcome
How it would go from the start if I knew
Considering how things could have turned out if I had known more from the beginning
Why am I falling apart?
Feeling emotional pain or difficulty coping with the reality of the situation
It took time to understand him
Realizing that it takes time and effort to get to know someone deeply
I know him so well
Feeling that I have a deep, accurate understanding of the person
Lyrics © BMG Rights Management, Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: Tim Rice, Benny Goran Bror Andersson, Bjoern K. Ulvaeus
Lyrics Licensed & Provided by LyricFind
@Magnus_Loov
And I didn't say that the vocal performances were bad. They are great.
I actually defended this version (With Paige and Dickson) against the Whitney Houston version (which really is dull!)
You know what is really dull? Musicals! I just happen to like this song. Otherwize I really dislike the theatrics and the extremely old-fashioned way of "singing theater"
"Award winning actor" is not important to me. How they sound and and how they sing is.
And in this video they look stiff and expressionless. But I don't know if it has to do with the parts in the musical (And don't care, since it is a musical).
What I mean by saying that they as ABBA together could have done it is that if Björn and Benny could tailor the song perfectly to Agneta and Frida, with the help of Micheal B Tretow doing all the layering/doubling/shifting of tapespeeds (for thick chorus) and all fantastic producer tricks , they would have been very, very good!
The point is that the core voices were the perfect fit as a starting point to do this!
Better is maybe the wrong word, but differently awesome in a good way! Remember that the team behind them knew them in and out and actually treated the voices as synthesizers in the studio. The tones they had matched so perfectly and melted together in a way that made the magic (with the help of loads of fantastic production in the studio). They said it themselves, they were a studio band and they really loved to be creative in the studio.
But they could also sing live extremely well (this was well before auto-tune and they took pride in playing and singing everything live in the concerts).
In a musical as "theatrical performers"? They probably wouldn't be in the same league as the experienced Paige and Dickson. Paige was more known to me...
But you never know. They made some mini-musicals with that singing style for some albums (at least one). And the videos that Abba made actually were in the same vein(Cheesy though! But I think most musical are, but that is a matter of taste)
Being perceived by you as dull as persons has nothing to do with singing performances. I feel they are typically Swedish, so yeah we may all be dull in Sweden! And besides, you don't know them in private. I think "reserved" and down-to-earth are better words. I take that all the time over any kind of divas or demanding stars(And I'm not saying Paige or Dickson were that either)!
@natashagomes-george2214
This song is 40 years old. Still sounds amazing in 2023
@andrewgahan3568
May 2023 Friday 1045pm😊
@marlenesullivan3113
@@andrewgahan3568JUNE 2023
& FOREVER, AN EVERLASTING SONG
@magdalenaengstrand7511
😮😮
@jencoops3468
How true, so exquisite.
@edwardtannahill6297
They are still so beautiful. I'm not so sure about me; timeless talent.
@tectoramia-sz1lu
Barbara Dickson's voice is like liquid gold. She hits the high notes without screeching.
I saw her in concert twice. She was a much under rated singer in the UK.
@billwatt2528
I totally agree. We saw her in Peterborough a few years ago. A very good voice
@mcmaximon1
One of those pure smooth voices like Karen Carpenter! A pitch perfect tone
@daisyd7815
Benny and Björn - such musical geniuses.