Matt Lockitt does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment. Over the coming weekends, a number of his musicals will be screened for a limited time. Lloyd Webber possibly occupies a unique position among contemporary musical theatre composers as an international household name. And you are bound to be familiar with his work. Before him, the art-form was dominated by American musicals and had lost some favour with modern audiences. Through five of his plays, here is how the Englishman rehabilitated the form and gained international success with biblical figures with a penchant for rock ballads and cats singing for their lives. Lloyd Webber is a product of his time and place, and his early musicals reflect this. In his book on British identity in Edwardian musical comedy, scholar Ben Macpherson identifies the tension between the traditional past and modern present reflected in the musicals of the time as being a central aspect of British identity. The first produced musical by Lloyd Webber, in collaboration with lyricist Tim Rice, was originally conceived as a minute piece for school children. The aesthetic tension between past and present is explicit in the way the pair described it as a pop cantata — a contemporary take on a Baroque sacred choral work.
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