i dont get it

Scott Miller, the author of From Assassins To West Side Story, wrote:

"Today many people don't like Lloyd Webber's work, but the composer of Superstar is a different Lloyd Webber from the one who wrote Phantom Of The Opera. When he began his career thirty years ago, he wrote in the rock and roll idiom, a musical language he knew and loved. No one can deny that he can still write a breathtaking melody, but his musical vocabulary is limited. Consequently, he excelled in in the relatively simple repetitive language of rock and roll with Superstar, but when he tries today to write in a more classical, more sophisticated style, his limitations show through. What seems driving and primal in Superstar sounds merely repetitious in the classical Eutopean sound of Phantom or the pseudo-jazz ztyle of Sunset Boulevard. His writing ability hasn't diminished, but when he changed styles our expectations changed as well, and he couldn't meet them. His critics believe that, unlike other theatre writers, Lloyd Webber has not grown as a composer over time. Luckily, we can still enjoy Jesus Christ Superstar and Evita, both set on the cynical, literate, and provocative lyrics of Tim Rice."

You could try posting this in the misc forum for a better response.

People complain because he has more money and success that they do.

They're jealous, that's all. Nothing important.

Andy.

I actually considered it to be the blase and snobbish way that he deals with anything that isn't exactly the way he wants it. If it's an interveiw he didn't set up, he snarks. If he doesn't like the way a show's reputation is swinging, he snarks.
Perfectionism is great, but not when it spills over into everything and gives you a face like a sour lemon.

*shrugs* Then again, I speak only from second-hand knowledge, dont I?

Ah, the old 'they're just jealous' card. You aren't a very analytical thinker, are you?

There's really nothing to analyse.

Andy.

There's only nothing to analyse because you dont want there to be.

Flitterbug.

Yes, the mimmicking is on purpose. Sorry... I couldn't resist.

Imitation is the sincereist form of flattery.

Andy.

And also the most effective form of mockery.

Mockery, flattery. Whatever. I really don't care either way.

Andy.

I think ALW is at his most effective when he's not trying to be the "great composer". For example, "Joseph" and "Starlight Express" are unpretentious, fun shows which work and are entertaining for most types of audience. As soon as he tries something more ambitious musically his lack of technique as a composer almost becomes embarrassing. A good example can be found in "Woman in White". There's a particular song (can't remember the title but it's set in London) which has an irregular 5/8 metre throughout. It just sounds clumsy and awkward, and, instead of giving the effect of clumsiness and awkwardness for valid dramatic reasons, the sub text is really "Here I am being the 'great composer' because I can write music in 5/8 - aren't I clever?". Contrast this with "Thank Goodness" from "Wicked" (the opening song in Act 2). This song is almost entirely in 5/8 time, but the metre serves the lyrics and the drama and, in fact, most listeners wouldn't even notice the irregular rhythmic background. A classic case of art concealing art. I have nothing against ALW per se, but I feel there are other creative talents out there who are better at what they do, and who are up against the dominant ALW "machine" in the West End and Broadway.