Andrew Lloyd Webber is American theater’s favorite punching bag.
It’s easy to hate on the enormously rich British lord whose musicals, despite their commercial success, are frequently considered among the emptiest and most confounding shows in the canon. He’s written musicals about Jesus Christ, Cinderella and anthropomorphic trains, and they’ve all attracted some degree of critical hostility.
So when did Lloyd Webber get cool?
A string of new, drastically different revivals of Lloyd Webber’s most famous shows are dragging his work into the present — and inspiring his many detractors to reappraise the divisive composer.
On the West End, Rachel Zegler is leading a younger, sexier “Evita” whose Broadway transfer seems inevitable. A recent revival of “Cats” set in the downtown ballroom scene is rumored to return to New York soon. “Sunset Boulevard” just completed its celebrated run that won its Pussycat Doll leading lady a Tony. And earlier this month, Cynthia Erivo assumed the title role in a one-night-only performance of “Jesus Christ Superstar” that was lauded by the composer himself.
