There is nothing pompous or pallid about his prose, which makes it all the odder that so much of the music that he wrote seems to have no other qualities.
Illustration by Bendik KaltenbornĪmerican lovers of musical theatre who blame Andrew Lloyd Webber for pretty much everything that went wrong on its stages, starting in the early seventies, will be chagrined to discover that he has written an autobiography that has all the virtues his music always seemed to lack: wit, surprise, contemporaneity, audacity, and an appealingly shrewd sense of the occasion. In an age when the musical was no longer a hit machine, Lloyd Webber returned the form to its origins in operetta.
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