Andrew Lloyd Webber Eyes Broadway’s Premier Stage
Because nothing says “creative renaissance” like a composer-weaving-tycoon trying to add “theatre owner” to his résumé, Sir Andrew Lloyd Webber has set his sights on what he’s dubbed “the best stage on Broadway.” In a recent conversation with BroadwayWorld, the 76-year-old maestro confessed a long-held fantasy: buying the Nederlander Theatre, home to megahits like Chicago and Beetlejuice. According to Variety, Lloyd Webber praised its acoustics and intimate sightlines—basically every box-office buzzword available.
Behind the dry wit of “I just want a place to park my grand piano,” there’s a serious motive. Playbill notes that Webber’s interest isn’t a spur-of-the-moment whim but part of a strategic push: owning a Broadway landmark secures a permanent home for his future projects. He’s already shepherded the Phantom franchise for decades and clearly fancies a concrete stage to anchor his next wave of musicals. The Stage corroborates that he has informally approached Nederlander Organization reps, though contract talks remain hush-hush.
Of course, the Broadway establishment instantly murmur-whispered about monopolies and rent control. Industry insiders tell Variety that while theatre owners are flattered, they’re hardly sweating over a single transaction. The Nederlander clan is more likely to weigh tax implications than Shakespearean envy. Still, one can almost hear the silent auctions heating up behind the velvet curtains.
In true deadpan fashion, Lloyd Webber underlined his vision for the space: “Imagine a season of new works, revivals, and possibly a rotating exhibit of Phantom memorabilia.” You can almost hear the boardroom gasps. Playbill sources indicate producers are already drafting proposals for jukebox musicals, concept albums, and one-off concerts starring pop stars who “can carry a tune, we hope.”
Naturally, critics have begun sharpening their pencils. Some wonder if this is a genuine passion play or the most theatrical real estate flip in Broadway history. BroadwayWorld insiders predict a negotiating dance worthy of a West End grand finale—complete with costume changes and dramatic lighting cues.
Well, there you have it: the man behind Cats and Evita wants to own the stage rather than merely haunt it. Tune in next time for more big dreams, bigger budgets, and inevitably questionable life choices.
Sources: Celebrity Storm and Variety, Playbill, BroadwayWorld
Attribution: Creative Commons Licensed
