Does ALW just need to throw in the towel?

I think with Woman in White being the non-success it has been, ALW might want to admit his day has passsed. He hasn't had a hit on Broadway since Phantom. I suppose you could argue Sunset BLVD. was a bit of a success. It did have a semi-decent run. But I think American audiences are trying to tell the man something, "You don't interest us anymore!" I know I will get flammed by the ALW Die-hards for this post, but come on. It's been obivious since EVITA or CATS that the man is a fan of recycling his music and tweaking it to fit a new show, to the point that if you walked into a room and heard a snip of music you might have to wait for lyrics to decipher the show.

Maybe he just needs to keep his shows on the opposite end of the pond, where they enjoy spectical(sp?) with out substance.

Maybe its just me, but I think it's clear that ALW and Broadway have grown apart and need to start seeing other people.

Discuss....

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On the contrary, if anything, his scores have gotten artistically better since they haven't been "hits" ... hope he concentrates more on his music and not the commercial ambition.

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You're post is not only rude to our friends in London (who enjoy more than just spectacle), but to those of us who enjoy his work. The die hard fans aside, there are many who enjoy his work.

Sondheim has much more failures financially than ALW. In your logic, he should have thrown in the towel years ago.

More power to ALW. May he keep writing shows that employ many actors, and enjoyment to those who like his music.

In the case of WOMAN IN WHITE, I think it was just poor timing.

I kind of think a lot had to do with the marketing of this show (or little thereof). I would have seen it, but I was told the projections might have made me nauseous as I'm very sensitive to that type of movement.

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I won't even respond to the subject line - because I think the premise is just ridiculous.

But I wanted to point out that DottieD'Luscia made an excellent point. The marketing/publicity for this show was little to none. It took them two weeks to do a full page NY Times Ad with the local critics positive quotes (of which, despite people saying it was "bashed" by the critics -- there were a number of positive comments about different aspects of the show).

The one thing I might agree with about all the illnesses is that it knocked out the opportunity of Maria and Michael doing interviews around town - Letterman had Wicked when it opened - Regis and Kelly - all of those shows - even the Yenta's on The View probably would have loved having Friedman on to help raise awareness of Breast Cancer, but more importantly, working through the frightening news.

With all of those PR opportunities gone, it's hard for a show to gain traction in an environment where there's substantial number of shows.

It's good to remember - when Sunset Opened in 94, the only other "New" Musical was "Smokey Joe's Cafe". Broadway (as has NY) has changed dramatically. There's competition for audiences, which is a good thing. With some better marketing, and some better luck, there's no reason WIW couldn't have at lest made it till the Tony's

ALW sucks, he should stop coming to America to distory musical theater.

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If people are supposed to stop being creative just because their products aren't financial successes, then there are a majority of musical theatre writers who need to stop writing.

You said he hasn't had hit since Phantom. I know it's a given, but keep in mind that it's STILL RUNNING. He still HAS a hit. And hit is a mild word for Phantom. It really is a phenomenon, whether or not you like the show. Sondheim hasn't had a hit since A Little Night Music, or perhaps Into the Woods. Either way, it's just as long for him. And look what's happened - now Sweeney Todd is running successfully on Broadway. I've heard many people wonder if this revival will be the biggest hit of his career.

Andrew Lloyd Webber is so high profile that his flops really hurt more and embarrass him more than most writers, but it's not that unusual. I would really love to see him work on a project where he's not the driving creative force behind the show. Just couple him with a brilliant lyricist and a brilliant book writer, people who will bring out his best, and I think he could really do something amazing. That, or he should write an out-and-out opera, one that doesn't have a commercial run, but plays at an opera house. He was approached to write an opera by the English National many years ago.

I hope he has more success. I really feel sorry for the man. No matter what any of his detractors say, he has garnered more pure, unabashed hatred than any composer I can think of and consequently is labeled a failure without being given a chance. Someone asked him about this once, and he very professionally replied, "I don't know why [people hate me]. All I've tried to do is my best, and my best for theatre."

Updated On: 2/8/06 at 07:40 PM

I don't think he should necessarily give up because trends have changed. I really like his style, as do many (he does have a loyal fanbase), and I think he still has a promising career.

I actually think that WIW is possibly his most mature score to date, and I have to agree that there is no reason to throw in the towel because tastes have changed. Frankly, I can't see throwing in the towel as long as he's still breathing and has a single note of music left in his soul. This would be true of any creative person, in whatever endeavor, whether it's a composer, writer, painter, scuptor, actor or whathaveyou. Commercial success is fine, but it doesn't define the creative process.

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At the same time Wildhorn does

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In the musical theater the lyrics can not be underestimated. I'm more prone to like scores of his where he has a better lyricist working with him, and I think a stronger lyricist also pushes him to be more creative musically. If he would stop relying on quoting his themes in his scores (six melodies does not a musical score make) his music would probably be able to hold my interest now, as an adult, as well as it did when I was a child. One can't say he doesn't pick varied material though. He's not a genius but he is productive, committed, and able to occasionally poop out a lovely tune. I don't think he's good enough to feel the need to be familiar with everything he does but if he wrote something that intrigued me I'd go see it.

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I think it's time for an american Evita revival.

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He shouldn't throw in the towel. I agree that the timing was poor for WIW. They were supposed to tour the US with it then come to Bway. Instead they rushed it to Bway. I also think that this musical's "projection" screens caused some of the trouble. People were always complaining that they were bothered by those.