An Open Letter To Sir Andrew Lloyd Webber — Page 2

Just as a fellow Old Guard member of this board, I am not naysaying or nitpicking. I am just saying to give ALW and the production time to figure it out before demanding it and jumping all over ALW. If it was a hard no when you first asked about it and now, with this campaign, they are looking into it then people should have patience. I am hoping for a recording also as I loved the vocal performances in the show and agree they should be preserved.

A new life for this? There’s no where else that this show could work. And there’s not really any audience for it. Alienating to the originalists but still Cats for those who hate cats. It appeals to no one.

I also think the "This was our show--not yours. Now fund a recording" approach is about the worst method that could have possibly been taken in trying to sway him

Yeah, it's a terrible approach and it's also one of the reasons the show failed. ALW lives in a literal castle, he can fund it without blinking but doesn't want to for some reason. However, the concept album of Bad Cinderella (his worst show imo) was produced along with a few singles from the sad Broadway run so you never know.

Updated On: 7/20/26 at 12:48 PM

Lot666 said: "Fred Mason said: "It appeals to no one."

Why do people keep posting ridiculous statements like this?

"

Queer people don’t count as human to some.

joevitus said: "I think you have to be either too obsessed with this production to retain objectivity orhave little to no knowledge of how "history" operates inthe gay communityto think a cast recording will work as an effective"preservation of a historically important revival that could be an invaluable piece of theater history for the LGBTQ+ community for generations to come." Most gay people won't care even a few years, let alone 20 or more. This is a transient thing. Enjoy the moment, retain your memories.

I also think the "This was our show--not yours. Now fund a recording" approach is about the worst method that could have possibly been taken in trying to sway him."

This ^

To add even more insult to injury, there's also an element of hubris in the notion that the entire LGBTQ+ community is represented by this one show.

It is not, and I will write again what I wrote earlier: although I support the production because of those who feel seen and represented by/through it, the show has never needed me to be in the audience, nor would I ever want to be.

IMO, there's too much hyperbole in that open letter.

Keyboard warriors apparently live rent free in your brain as every single comment you make is about them. Takes one to know one.

Updated On: 7/20/26 at 04:52 PM

For all the emphasis on "history", there's another element that hasn't been touched on, and I'm not sure ALW would be pleased.

This revival is the first I’m aware of where the score has been diminished from its original role, and its capacity for relationship to plot within the show.


• As the actors are not portraying cats, but instead are real people who are members of competing "houses," the relationship between score and plot is significantly changed from the original.
• In “…Jellicle Ball” the characters only happen to be performing songs from “Cats”. This production is a Ball that is “Cats”-themed.
• In “…Jellicle Ball”, ALW’s score takes a more submissive role in service of the three elements the show won Tonys for: Direction, Choreography and Costume Design.
• As there is no longer a direct relationship between ALW’s score and the characters in “…Jellicle Ball”, the score could (reasonably) be replaced with music from a number of different musical works that have a cohesive structure; e.g., either of Madonna’s “Confessions…” albums, come to mind.
• In “…Jellicle Ball”, ALW’s score is no longer imperatively, or compulsorily tied to the production.

I believe that situation is a “first” among any previous examples of revivals.

John Adams said: "For all the emphasis on "history", there's another element that hasn't been touched on, and I'm not sure ALW would be pleased."

You're not wrong about the score no longer tieing directly into the world of the show. But given ALW a) had to sign off on any changes b) contributed to the new orchestrations and c) has routinely showed up at the show including being a "guest DJ", I think it's safe to say that he was in fact pleased with it.

To be fair, I wrote, "I'm not sure" re: whether/not ALW would or would not be pleased. I can see (now) what ALW's actual feelings about the matter might be, and I have no problem being wrong about any perceived speculation re: my unsurety.

Neither did I make any point regarding a "purist" view of "Cats". I also happen to agree that, "It's an absurd show to begin with."

My point was "This revival is the first I’m aware of where the score has been diminished from its original role, and its capacity for relationship to plot within the show" which I reiterated in the last sentence, "I believe that situation is a “first” among any previous examples of revivals."

For all the emphasis on "history", I still believe this element hadn't been touched on, previously.

Updated On: 7/21/26 at 02:20 PM

I mean, in a world where we get a Queen of Versailles cast recording…why not this?

We can preserve lame failures that won’t be produced again until Encores in 2045, but not a fabulous (and highly regarded) reimagining of an already beloved property?

Agreed on how ridiculous the CATS purists are.

GiantsInTheSky2 said: "Agreed on how ridiculous the CATS purists are."

The idea that CATS purists exist at all is ridiculous.
Do you also believe in the tooth fairy and leprechauns?

GiantsInTheSky2 said: "Please, share with the class - why exactly wouldn’t you “everwant to be” the audience for this production?"

Your “please share with the class” sarcasm is an example of the hubris I mentioned earlier in re: to the notion that what appeals to some either does, or should apply to ALL.

That’s just not true - at all. I believe you’ve proven that your knowledge of the LGBTQ+ community is very limited and does not reflect actual reality.

As I’m happy to repeat, I’m glad for all those who find validation and acceptance in and by this production. Everyone deserves that.

That does NOT apply to me, however. I have no desire to spend money to be in the audience, nor do I feel ANY need to be.

Those who need or insist that I feel as they do (and are ANGRED that I’m not, or don’t) aren’t worth my time.

So, put’cher claws in, Kitty.