Earlier this month, experiences emerged in The Daily Mail claiming that the theatre composer had “berated” the solid of his new manufacturing after they acquired a unfavourable overview from The New York Post, believing it will affect a Broadway switch of the musical.
His name was allegedly performed over the audio system at the Gillian Lynne Theatre, with solid members stated to be left in tears afterwards and discussing potential strike motion.
Speaking to BBC Radio 4’s Front Row on Tuesday (23 November), Lloyd Webber stated that whereas he did deal with the solid, it had had “nothing to do with The New York Post” and that he had reminded them that “nobody has a right to be on the stage”.
“What I was saying to everybody is… the younger cast don’t really realise all the time that we are actually a service industry and nobody has a right to be on the stage,” Lloyd Webber stated.
“I don’t have a right to have my musicals in the theatre. What we have to do is try to give the best performances possible. All I was saying is that that’s what we have to do and the cast we’ve got at Cinderella are a really, really wonderful cast who are well capable of doing that. But this has been wildly exaggerated.”
At the time of the unique experiences of the name, many social media customers identified that The Post’s overview had truly singled out the solid for reward and as an alternative criticised the size of the present and Emerald Fennell’s e-book.
In a three-star review of Cinderella, The Independent praised the present’s design, however singled out Cinderella’s personal songs as notably weak and stated that Fennell’s e-book offered an “unclear” viewpoint.
“The production is driven forward by high-camp visuals, incredible comic talent and an electric ensemble cast,” the overview reads.
“But look below the surface – as is Cinderella’s whole message – and you’ll find something more muddled, a show that doesn’t quite know what it’s saying or have the consistent material to support its vision.”