"It must have been an extraordinary time. I guess the worrying thing about musical theatre to me, is if you look at the London season this year, mine is actually the only one to have come in"
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A practiced blend of nostalgia and alarm hides inside Lloyd Webber's casual phrasing. "It must have been an extraordinary time" gestures toward a lost London where musical theatre felt culturally central, not just commercially viable. He keeps it deliberately vague because the point isnt to litigate the past; its to remind you that the ecosystem used to be bigger than any one brand.
Then he pivots: "the worrying thing" is the real payload. Lloyd Webber is not simply lamenting taste, he's flagging infrastructure. By framing the London season as a scoreboard where his is "actually the only one to have come in", he turns a personal statistic into an industry diagnosis: new work isnt arriving, or isnt being allowed to arrive, at scale. The subtext is about risk aversion tightening like a noose: soaring production costs, cautious investors, and audiences trained by streaming and franchise culture to buy what they already recognize.
The sly self-positioning matters. Lloyd Webber is both the messenger and the evidence. If even the most bankable name in British musical theatre is standing alone in the arrivals hall, thats not a victory lap; its a warning about monoculture. Hes defending the form by pointing to its narrowing pipeline, implying that theatres are becoming museums for proven titles rather than laboratories for new ones. The line lands because it sounds offhand, almost shrugging, while quietly sketching a crisis of artistic renewal.
Then he pivots: "the worrying thing" is the real payload. Lloyd Webber is not simply lamenting taste, he's flagging infrastructure. By framing the London season as a scoreboard where his is "actually the only one to have come in", he turns a personal statistic into an industry diagnosis: new work isnt arriving, or isnt being allowed to arrive, at scale. The subtext is about risk aversion tightening like a noose: soaring production costs, cautious investors, and audiences trained by streaming and franchise culture to buy what they already recognize.
The sly self-positioning matters. Lloyd Webber is both the messenger and the evidence. If even the most bankable name in British musical theatre is standing alone in the arrivals hall, thats not a victory lap; its a warning about monoculture. Hes defending the form by pointing to its narrowing pipeline, implying that theatres are becoming museums for proven titles rather than laboratories for new ones. The line lands because it sounds offhand, almost shrugging, while quietly sketching a crisis of artistic renewal.
Quote Details
| Topic | Music |
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