When he was able to get his mind on “Phantom,” thoughts tumbled out of him faster than he could find words to put them in. ![]() That afternoon Lloyd Webber’s energies were fixed on last-minute changes-minor ones that to him meant getting “Aspects” right. What was evident was the drive, the single-minded dedication to work and almost slavish concentration on whatever project is at hand. Temperament (for which he also has a reputation), let alone arrogance, were nowhere to be seen. When interviewed in Knightsbridge at the swanky Capital Hotel for lunch, it was two days before the opening of “Aspects.” He exuded confidence and a certain playfulness (for which he has a reputation). His brown hair is still cut in the familiar page-boy style that he has worn for much of his adult life, but his manner has grown more assured. “Knowing the pace at which I work,” he said, “I think the turning point for me-the second part of one’s life-has got to be right around now.” Divorced from “Sarah I” (Sarah Hugill, the mother of his two children) and married since 1984 to “Sarah II” (Sarah Brightman, whom he met when she played a small role in the London “Cats” and for whom he subsequently wrote the leading role of Christine Daae in “Phantom”), he feels on the threshold of a new maturity. Orchestra seats are sold out into December.Īt 41, the round-faced, brown-eyed Lloyd Webber is at a crossroads-artistically and personally. Producer Cameron Mackintosh expects “Phantom” to reside at the Music Center a minimum of two years. The previous box-office champ, “Les Miserables” at the Shubert Theatre, opened with a comparatively puny $8 million in the till. The show has an unprecedented advance of $15 million and counting. ![]() The Los Angeles production of “The Phantom” opens May 31 at the Ahmanson Theatre, which has undergone extensive preparations to house “Phantom’s” high-tech wizardry and infamous “crashing” chandelier. Two-"Cats” and “Phantom"-have long-running productions still going strong on Broadway. He has the singular distinction of having four shows in the West End: “Cats,” the roller-skating “Starlight Express,” “The Phantom of the Opera” and his latest musical-cum-opera, “Aspects of Love.” All four have monumental advance ticket sales. There is royalty and there is royalty.Īdmired or berated, the superstar composer is the unofficial Lord of London. ![]() England has its queen and its Andrew Lloyd Webber.
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