These two guys have dominated musical theatre writing for the last half century. Their style is as different as chalk is to cheese but both celebrated birthdays recently (on March 22nd the populist, Lloyd Webber, was 71 and the sophisticate, Sondheim, was 89) so let’s have fun frivolously comparing and contrasting.
Backgrounds?
Both are from powerful, privileged families. SS is American, ALW is British.
Influences?
SS: His mentor, the lyricist Oscar Hammerstein.
ALW: Puccini.
Currently in the West End?
Both have two shows running at the moment; ALW has Phantom of the Opera and School of Rock, SS has Company and Follies. However there are 3 additional ALW revivals on their way. This summer Joseph will open at the London Palladium, Evita at the Open Air Theatre in Regents Park and Jesus Christ Superstar at the Barbican.
Who is the most famous?
ALW and his shows have the strongest name recombination. Most people in the UK could name one of his musicals. However SS is equally well known amongst the stagey.
Who’s had the most hit shows?
If you judge a hit by audience reach then undoubtedly ALW whose early shows were boosted by hits in the pop and album charts from shows such as Superstar, Cats, Phantom, Evita, Aspects of Love and Whistle Down the Wind.
SS jokes that a medley of his hits would only contain Send in the Clowns from A Little Night Music. There’ve been recent mainstream films of Sweeney Todd and Into the Woods but both only managed niche appeal. However he also wrote the lyrics for West Side Story, one of the most beloved musicals of all time.
Who’s had the most flops?
ALW set the bar very high with the appeal of his early shows achieving blockbuster status replicated internationally. Of late however he’s written little to equal this success and critics and audiences were underwhelmed by The Beautiful Game, The Woman in White, Stephen Ward and Love Never Dies.
It’s difficult to categorise anything by SS as a flop as an aficionado somewhere can and will always make a case for even his most obscure work to be considered genius. However it’s hard to love Anyone can Whistle or Road Show (and I’ve directed both). The Frogs is also a tough listen.
Who’s the most respected?
Undoubtedly SS. ALW’s success and populism has always made him a target for critical snobbery. SS fans wear their appreciation as a badge of honour to demonstrate their sophistication.
So… Who’s the best?
That’s tricky and there’ve certainly been times when I’ve flaunted that SS appreciation badge of honour. When I first discovered him I was dazzled by his caustic, intellectual wit. These days I find the elitism of his Manhattan sophisticate’s world view increasingly tiresome.
Lately I’ve become more appreciative of ALW’s gift for touching billions of people everywhere with classic tunes like Memory from Cats or Don’t Cry for me Argentina from Evita. The ability to reach so many different human beings suggests some kind of genius even if this unrivalled populism also provokes sneering from detractors.
In a hundred years time I suspect people everywhere will still be humming Memory whilst Being Alive from Company by SS will retain a cult appeal.
And the main difference between them?
Stephen Sondheim’s musicals await your discovery; Andrew Lloyd Webber’s musicals will find you.
Last year the swanky new Bridge Theatre near London Bridge had a massive hit with an immersive production of JULIUS CAESAR in which part of the audience walked amongst the action. I didn’t see it but apparently it was a thrilling experience to watch or participate in.