Stephen Ward
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Stephen Ward: A Scandalous Musical on the West End
Stephen Ward, a musical by Andrew Lloyd Webber with book and lyrics by Don Black and Christopher Hampton, shines a spotlight on the infamous Profumo affair of 1963, a scandal that rocked British society. Premiering at the Aldwych Theatre in London’s West End on December 19, 2013, after previews from December 3, the production aimed to reframe osteopath Stephen Ward as a victim of establishment injustice rather than a villain. Despite its ambitious narrative and a celebrated creative team, the show struggled to connect with audiences, closing after a brief run on March 29, 2014.
Origins and Development
The seeds of Stephen Ward were planted in February 2012 when Lloyd Webber, intrigued by the Profumo affair, hinted at the project in an interview with Chris Evans. Early readings took place in London in 2013, with a public debut of the title song by Miloš Karadaglić on ITV’s *Andrew Lloyd Webber: 40 Musical Years*. Directed by Richard Eyre, the musical reunited Lloyd Webber with his *Sunset Boulevard* collaborators Black and Hampton. It marked his first original score since *Love Never Dies* in 2010, embracing a 1960s sound that diverged from his signature romantic ballads, reflecting the era’s cultural upheaval.
The Plot: A Tale of Scapegoats and Scandal
The story centers on Stephen Ward, a charming osteopath and socialite who mingled with Britain’s elite. It traces his role in introducing War Minister John Profumo to Christine Keeler, a young model whose simultaneous ties to a Soviet spy sparked a national crisis. Rather than focusing on Profumo’s downfall or the government’s collapse, the musical positions Ward as the true casualty hounded by a vengeful establishment, charged with trumped-up vice crimes, and driven to suicide by an overdose during his trial. The narrative unfolds as a critique of hypocrisy and power, though its historical weight sometimes overshadows its theatrical momentum.
Cast and Performances
The West End production boasted a talented ensemble, with Alexander Hanson leading as Stephen Ward, portraying him as a suave yet enigmatic figure caught in a web of his own making. Charlotte Spencer played Christine Keeler with allure, while Charlotte Blackledge brought vivacity to Mandy Rice-Davies. Joanna Riding delivered a standout performance as Valerie Hobson, Profumo’s loyal wife, her ballad “I’m Hopeless When It Comes To You” emerging as a highlight. Daniel Flynn as Profumo and Anthony Calf as Lord Astor rounded out the cast, supported by a sleek set design by Rob Howell and choreography by Stephen Mear.
Musical Score and Reception
Lloyd Webber’s score leaned into 1960s pop and jazz influences, with songs like “Human Sacrifice” and “You’ve Never Had It So Good” capturing Ward’s defiance and the era’s hedonism. The tender “I’m Hopeless When It Comes To You” showcased his knack for emotional melodies, but critics found the music uneven, lacking the soaring hooks of his earlier hits. Reviews were mixed: some praised the “delightful tunes” and Hanson’s commanding presence, while others decried a “flaccid” narrative and slack pacing. The opening night was overshadowed by a ceiling collapse at the nearby Apollo Theatre, diverting attention from the premiere.
A Short-Lived Run and Legacy
Despite an initial extension to May 31, 2014, *Stephen Ward* faltered with sluggish ticket sales, playing to half-full houses despite a modest £2.5 million budget. Top seats dropped from £67.50 to £39.50, reflecting its commercial struggles. The show closed on March 29, 2014, after just over three months, a rare misstep for Lloyd Webber, whose previous flops like *The Beautiful Game* outlasted it. A cast recording was released in December 2013, preserving its 19 songs, and the libretto was published by Faber and Faber in 2014. Producer Robert Fox expressed hope for future revivals, calling it “possibly Andrew’s best score in years.”
Why Stephen Ward Stumbled
The musical’s brevity on the West End stage stemmed from its niche subject matter a 50-year-old scandal unfamiliar to younger audiences and its tonal mismatch. Lloyd Webber’s romantic style clashed with the story’s need for satirical bite, as critics like Michael Billington noted, comparing it unfavorably to *Chicago*. Its serious intent as a “miscarriage of justice” tale lacked the escapist joy many expect from musicals. Yet, its bold ambition and Hanson’s portrayal linger as testaments to its potential, suggesting *Stephen Ward* might find new life in a more intimate setting someday.