When I talk of "most satisfying score", I think primarily of how much pleasure the music gives me as a listener... that's the main thing, but I also think of how inventive or original the musical structure is, and the appropriateness of the musical style in relation to the storyline and character development.
However, I do think that "dramaturgy" is primarily the dominion of the lyricists and librettists in the way that they convey the story and characters.
It does irritate me, that when talking about ALW's musicals, people tend to lump the work of the lyricists and librettists under the umbrella of ALW's name.... too often I feel that his lyricists aren't given enough credit/blame for the success/failure of what's labelled as "an Andrew Lloyd-Webber musical".
Read a review of "an ALW musical", and a lot of the time the lyricist is only mentioned in passing, if at all.... too often critics and fans alike refer to the show in question as:
"Andrew Lloyd-Webber's [Insert Title Of Show Here]"
"Andrew Lloyd-Webber & [Insert Name Of Lyricist Here] [Insert Title Of Show Here]"
Admittedly, ALW has done a lot to encourage this himself. Tim Rice, Jim Steinman and Ben Elton are the only ones ever to receive equal billing with ALW.... it seems that ever since he split from Tim Rice, ALW has been too egocentric to share top billing with his collaborators, except in the case of Steinman and Elton, where it seems to have been done more to exploit their putative celebrity.
One other reason to hate "Love Never Dies" is the self-aggrandizing cover... Andrew Lloyd-Webber is the only name that appears above the title.
I would disagree on the matter of "Sunset Boulevard" - I find that the comedy songs are both genuinely comical and entertaining. I do not find the tunes "dull" at all, quite the contrary, I find them infectiously catchy and at times deeply moving. It's all subjective.
As for the songs not conveying many original ideas that weren't already conveyed by the dialogue of the movie - again, surely this is as much the fault of the lyricists/librettists and not just down to ALW as a composer?
I guess this is the other thing, I don't feel that the musical has to convey a different theme to the original film in order to be considered worthy. I like the original film, so I feel those themes are worthy enough in and of themselves to be the subject of song.
As for "Evita"...
I do think it is one of ALW's better musicals. The tunes are catchy and don't seem too out of place in the context of the story... even the bombast and repetition don't grate as much in "Evita" as some of his other musicals... much of the satire cuts to the bone and for the time it was genuinely inventive and groundbreaking...
But I do have a problem with the dramaturgy of "Evita". I feel that the title character never really emerges as a three dimensional figure. Simply put, I feel that the musical skims the surface of her life and that she just isn't portrayed with enough depth or complexity.... and again, this isn't simply down to ALW, but also because of Tim Rice.