Andrew Lloyd Webber and Tim Rice, two of musical theatre’s most celebrated collaborators, are reportedly experiencing a professional dispute over their recent work on a Sherlock Holmes-themed stage production. The musical, titled *Sherlock Holmes and the 12 Days of Christmas*, premiered last year in Birmingham and is scheduled for a London run. The production features six songs co-written by Lloyd Webber, who composed the music, and Rice, who wrote the lyrics.
The project, produced by Rice’s children Eva and Donald, follows the iconic detective as he investigates a mysterious killer who targets figures aligned with the “12 Days of Christmas” carol. While the show and its music received generally favorable reviews during the Birmingham run, a rift has emerged surrounding the continued use of Lloyd Webber’s compositions.
According to Lloyd Webber’s camp, the composer chose not to have his music included in subsequent productions due to scheduling conflicts and concerns over the creative direction. Lloyd Webber expressed reservations about being asked to sign away his rights to the music for five years without approval over productions he had not seen and with an unfamiliar creative team. A source close to Lloyd Webber attributed the decision in part to his sobriety, suggesting his new clarity has heightened his insistence on fair creative and financial recognition.
Tim Rice, meanwhile, indicated that Lloyd Webber did not wish to continue with the show, citing the composer’s focus on larger projects. Rice noted that Lloyd Webber’s theatrical interests currently include an operatic musical, *The Illusionist*, and an immersive production of *The Phantom of the Opera*. To fill the gap, composer Howard Goodall has been brought on to write new songs for the Sherlock Holmes production.
Rice declined to comment directly on comparisons between Goodall’s new material and Lloyd Webber’s original compositions but framed the change as a mutual decision aimed at revitalizing the project. He described the move as a pragmatic step given Lloyd Webber’s extensive commitments.
The dispute marks a rare public disagreement between the two, whose partnership has produced iconic works such as *Joseph and the Amazing Technicolor Dreamcoat*, *Jesus Christ Superstar*, and *Evita*. Their creative collaboration dates back to the mid-1960s, with both men continuing to produce landmark musicals individually after their well-known partnerships.
Despite occasional tensions, insiders say Lloyd Webber and Rice maintain a complex but enduring friendship. They reportedly see each other infrequently but share mutual respect. Financially, both have achieved significant success, with Lloyd Webber’s net worth estimated at over £500 million and Rice’s at approximately £150 million, including substantial royalties from projects such as *The Lion King*.
The current disagreement appears rooted in creative control and production management rather than personal animosity. Sources familiar with the situation describe it as a “storm in a teacup” driven by principled stances typical of the entertainment industry.
As the Sherlock Holmes musical prepares for its London debut, it remains unclear if further collaboration between Lloyd Webber and Rice will follow. Regardless, their contributions to musical theatre continue to resonate decades after their initial partnership began.