Word: lloyds
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Between trips, Lloyd Webber has overseen the continuing restoration of London's Palace Theater, a Victorian landmark that he bought for $2 million in 1983; expanded the dairy farm on Sydmonton Court, his estate in Hampshire, and planted 50,000 trees in an effort to reverse soil erosion; and with his wife, Soprano (and Phantom Star) Sarah Brightman, 27, acquired a nine-room duplex apartment on the 60th floor of Manhattan's Trump Tower, as well as a seaside villa in Saint-Jean-Cap-Ferrat in the south of France. He has indulged his hobbies of collecting pre-Raphaelite...
...Manhattan aerie last week, Lloyd Webber worked with Lyricists Don Black and Charles Hart on his next musical, Aspects of Love, studied portfolios of photos in search of a female lead for Phantom's April production in Japan, and kept a watchful eye on the Broadway incarnation, which started previews on Saturday. "He monitors every word and orchestrates every aspect of the production," says Black. "He is good at casting, costumes, orchestration, design, marketing. Nothing slips through the net." When he does unwind, it is generally at his Steinway grand piano. "Want to hear some tunes?" he will...
...time as possible at Sydmonton, near the Watership Down country of Novelist Richard Adams, where his extensive holdings have made him the squire of two villages. The oldest part of his brick manor house dates back to the 16th century. Each July the estate serves as the site of Lloyd Webber's private Sydmonton Festival, where the composer tries out his works in progress before a specially invited audience. A connoisseur of old English religious architecture, Lloyd Webber often spends Sundays driving around with Sarah to visit churches...
What prompts all this frenetic activity? With a secure place in the annals of musical theater, a personal net worth of more than $200 million and all the creature comforts that attend such a favorable balance sheet, Lloyd Webber would seem to have everything. It may sound like an old joke, but rich and famous as he is, he still craves one gratification: critical respectability, especially...
Since 1971, when the iconoclastic Superstar shattered Broadway tradition with raucous electric guitars, grinding dissonances and a subject that was, to say the least, unorthodox, it has been fashionable to dismiss Lloyd Webber as a panderer to the basest melodic cravings of the mass audience, hammering home a few repetitive themes amid overblown orchestral climaxes and distracting technological gimmickry. His scores have been derided as derivative and too dependent on pastiche -- meretricious parrotings of his Broadway betters (Rodgers) and his operatic antecedents (Puccini...