Transformative Revivals Resurrect Andrew Lloyd Webber’s Musicals as Critics Reappraise the Controversial Composer
Andrew Lloyd Webber’s musicals, once a subject of derision, are experiencing a renaissance that challenges their perceived shallowness and offers an opportunity for reassessment.
Despite being commercially successful, Lloyd Webber’s works have long been criticized as empty and confusing, with his diverse portfolio including Jesus Christ Superstar, Cinderella, and anthropomorphic train musical Starlight Express. However, a series of recent revivals are breathing new life into these productions, compelling detractors to reconsider the divisive composer.
On the West End, Rachel Zegler’s younger, sexier rendition of Evita is generating buzz for a potential Broadway transfer. A revival of Cats set in the downtown ballroom scene is rumored to return to New York soon. Sunset Boulevard recently concluded its acclaimed run, which saw its Pussycat Doll leading lady win a Tony award. Earlier this month, Cynthia Erivo took on the title role in a one-night-only performance of Jesus Christ Superstar that received praise from the composer himself.
The Phantom of the Opera is once again haunting New York City in an immersive new take titled Masquerade. Originally the longest-running Broadway show before its 2023 closure, The Phantom of the Opera has returned with a modern twist that invites viewers to engage more intimately with the production.
These revivals have succeeded artistically because they offer “fairly radical reimaginings from the original text,” according to Amanda Eubanks Winkler, a professor and musicologist who leads Rutgers University’s department of music. These avant-garde interpretations challenge perceptions of what depth a work by Andrew Lloyd Webber can achieve, even when it comes to pieces as seemingly incongruous as dancing cats.
Despite the original productions’ lavish setpieces, operatic scores, and perceived disconnection from reality, critics have often dismissed Lloyd Webber’s musicals as mere mindless entertainment without an “idea in its head.” However, these new interpretations trim the excess, focusing on the scores while offering fresh perspectives that allow audiences to engage more deeply with the material.
In Evita, Zegler delivers a powerful rendition of “Don’t Cry For Me Argentina” from an actual outdoor balcony to a crowd of adoring fans. Nicole Scherzinger earned nightly standing ovations for her performance of “As If We Never Said Goodbye” on an empty stage during Sunset Boulevard, while the sparse staging of Cats’ Jellicle Ball is a far cry from the original production’s extravagant sets.
These new productions have even won over skeptical fans of Lloyd Webber’s originals. Kathryn Yelinek, an author, librarian, and devoted fan of the original Phantom, initially had reservations about its off-Broadway revival titled Masquerade: “I just hoped that this new production wouldn’t ruin it in some way.” However, after two performances, she was moved by her interaction with a character she’s loved for decades in a way that would have been impossible in the original production.
These reinventions pose a question that even some of Lloyd Webber’s harshest critics may struggle to answer: “What does an Andrew Lloyd Webber score have to say about who we are right now?” Beneath the bombast, political and social themes are deeply ingrained in Lloyd Webber’s work.
The new Cats cast, composed entirely of queer and trans people of color and ballroom legends, offered a poignant interpretation of the material that resonated with contemporary audiences. The timing of Evita, which comments on celebrity culture, the cult of personality, and how they’re used to promote authoritarian leaders, makes it especially relevant today.
Many have long dismissed Lloyd Webber’s musicals as lacking depth. However, these new productions provide a fresh canvas for directors to showcase their style and mine for new relevance, revealing hidden layers in the composer’s work that had previously gone unnoticed.
Even without critical acclaim, Lloyd Webber remains one of the most successful composers of his era. His musicals Sunset, Phantom, Evita, and Cats have all won the Tony for best musical. Phantom and Cats have both held the title for the longest-running show on Broadway, and they’re both among the highest-grossing musicals of all time. However, the 2019 film adaptation of Cats was widely panned, and Lloyd Webber’s last new musical, Bad Cinderella, closed less than three months after its opening, marking the first time in 44 years that his name was absent from a Broadway marquee.
The critical and commercial success of Sunset Boulevard has sparked a renewed interest in Lloyd Webber’s work, with rumors of a return for Cats: The Jellicle Ball and near-immediate sellouts for Masquerade’s initial run. It appears that even the most ardent critics are beginning to acknowledge the power and depth hidden within Andrew Lloyd Webber’s musicals.