Behind-the-scenes look at Andrew Lloyd Webber's comeback: Remodeling hits such as 'Evita' and 'Sunset Blvd.', along with a major transformation to his entertainment business.
LW Entertainment: Andrew Lloyd Webber's Transformative Rebrand
Andrew Lloyd Webber, one of the most successful composers in history, is experiencing a comeback in the theatre world after a series of challenges. Following recent upheavals in the entertainment industry, Lloyd Webber's business and artistic approach has notably shifted towards consolidation, revitalization, and innovation.
His company, formerly known as the Really Useful Group, rebranded as LW Entertainment in August 2025 to align more closely with his theatre management arm, LW Theatres. This rebrand reflects a strategic emphasis on maximizing the value of his musical catalog through copyright exploitation, merchandising, and franchising, while theatrical production is now handled separately by Lloyd Webber Harrison Musicals, a joint venture focused on new productions and revivals.
Artistically, the company is experiencing a resurgence with successful revivals and new interpretations. Sunset Boulevard recently closed a high-grossing, Tony-winning Broadway revival, replicating prior West End success. Evita, under director Jamie Lloyd with star Rachel Zegler, is thriving in London’s West End and plans a Broadway transfer. An immersive, Sleep No More-style adaptation of The Phantom of the Opera called Masquerade is currently previewing Off-Broadway, while Cats: The Jellicle Ball is scheduled to open on Broadway in spring 2026, signaling ongoing expansion of the Cats brand.
The iconic Phantom is marking its 40th anniversary with new tours and cross-media projects, including a forthcoming adult novel, Our Strange Duet, expanding Christine Daaé’s story in collaboration with Penguin Random House.
The leadership team includes Andrew Lloyd Webber's family members in key roles, ensuring close stewardship of the brand and its musical heritage. Recorded music efforts have also seen success, with soundtrack albums reaching top chart positions.
Michael Harrison, a new collaborator, now handles both new productions and revivals of Lloyd Webber’s older shows. Harrison introduced Lloyd Webber to a new generation of directors, who have helped make Lloyd Webber’s work appealing to the TikTok generation. James McKnight, a veteran executive, has been hired as the CEO of LW Entertainment to transform the company and make it an entertainment powerhouse.
However, the high cost of mounting Broadway musicals and the potential depletion of tax credit programs may make transferring productions to Broadway untenable. This was evident when "Bad Cinderella," a Broadway transfer of Lloyd Webber's West End musical, closed just three months after opening due to negative reviews.
Lloyd Webber requires his collaborators to remain true to his scores, but is willing to cut songs or compose new music for new productions. His son Nicholas, who died at the age of 43 from gastric cancer two days after "Bad Cinderella" opened, was a passionate advocate for his father's work. The Lloyd Webber family, including the composer's four surviving children, are focused on growing the family business rather than selling their catalog for a large sum.
Madeleine Lloyd Webber, the composer's wife, states that the family situation was "horrendous" during this period. Despite this, the family remains committed to preserving and expanding Lloyd Webber's musical legacy.
In the future, Lloyd Webber is set to debut a new show, "The Illusionist," an adaptation of the 2006 Edward Norton film, with plans for it to open in London in 2027. Diane Paulus will debut "Masquerade," an immersive production of "The Phantom of the Opera," on Broadway in the future.
This combined business model—focusing LW Entertainment on catalog management, licensing, merchandising, and brand expansion, while a separate production arm handles stage innovation—represents a measured response to industry upheavals. It leverages Webber’s enduring catalog while innovating through immersive theatre and multimedia projects, signaling an adaptive and diversified artistic strategy following challenging times in entertainment.
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