Photo: Matthew Murphy and Evan Zimmerman
Whatever one may think about Andrew Lloyd Webber, the man is game. Unlike, say, Samuel Beckett, who was relentlessly litigious over productions that diverged from his vision (“Anybody who cares for the work couldn’t fail to be disgusted by this,” he wrote about JoAnne Akalaitis’s set-in-an-abandoned-subway-station Endgame at ART in 1984), Lloyd Webber, at age 76, seems basically up for anything when it comes to new takes on his splashy musical blockbusters. One could argue that what he’s especially up for is cash, and that it’s not the most unreasonable impulse in the world to guard the dramaturgical integrity of Waiting for Godot a bit more closely than that of Starlight Express. But also,…
