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Tim Rice

Sir Tim Rice (born 10 November 1944) is an English lyricist and author best known for his contributions to musical theatre and film soundtracks through collaborations with composers including Andrew Lloyd Webber, Elton John, and Alan Menken. His partnership with Andrew Lloyd Webber produced seminal works such as Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, and Evita, which achieved global success in both stage and screen adaptations. Rice later penned lyrics for Disney productions like Aladdin and The Lion King with Elton John and Alan Menken, respectively, earning widespread acclaim for songs such as "A Whole New World" and "Can You Feel the Love Tonight." Among his notable achievements, Rice holds EGOT status as one of few individuals to win an Emmy, Grammy, Oscar, and Tony, including three Academy Awards for Best Original Song. He was knighted by Queen Elizabeth II in 1994 for services to music and inducted into the Songwriters Hall of Fame in 1999. In recent years, Rice reunited with Lloyd Webber to compose original songs for the musical Sherlock Holmes and the Twelve Days of Christmas, premiered in 2025.

Early life

Upbringing and family background

Timothy Miles Bindon Rice was born on 10 November 1944 at , a historic country house near in , , which had been requisitioned as a during . His father, Hugh Gordon Rice, served as a major in the British Eighth Army during the war, participating in campaigns in and . Rice's mother, Joan Odette Bawden, worked in the (WAAF) and was the daughter of an entrepreneur in London's fashion trade. The family resided in , where Rice spent his early years amid the postwar recovery, with his parents' military backgrounds reflecting the era's widespread involvement in national defense efforts. Rice grew up in a household shaped by his parents' wartime experiences, though specific details on their prewar professions remain limited in available records. He had at least one , a brother named . The family's middle-class status, inferred from their residence in and parental service roles, provided a stable environment, free from the economic extremes of the period. Rice later recalled no strong musical emphasis in the home initially, despite his eventual career path, suggesting influences developed externally during childhood. This upbringing in rural , away from urban centers, contrasted with the theatrical worlds he would enter, grounding his early perspective in conventional English provincial life.

Education

Rice received his early education at Aldwickbury School, a preparatory institution in . He subsequently attended St Albans School in during the . From there, Rice proceeded to , a in , where he completed his secondary education and departed in 1962 having obtained GCE A-Levels. After leaving , Rice briefly enrolled at Sorbonne Université in for a year of study but did not pursue or complete a full . Instead, he entered the professional world directly, initially considering a career in before joining as a management trainee in 1966. No higher academic qualifications are recorded in his biographical accounts.

Career

Initial forays into music and publishing

Rice joined in as a management trainee in 1966, marking his entry into the music industry after his legal training stalled. There, he worked in the (A&R) department under producer , gaining practical experience in record production and the business side of music. In 1968, when Paramor left to establish his own organization, Rice followed as an assistant record producer, continuing to build industry knowledge while assisting with artists such as . Parallel to these roles, Rice began songwriting in 1965, composing both lyrics and melodies for pop-oriented tracks. His debut effort, "That's My Story," was recorded by the rock group The Nightshift, representing his initial foray into original music creation amid ambitions to place songs with established acts like , though early attempts yielded limited success. These pre-theatre compositions, compiled later in the 2006 album That's My Story: Words & Music By Tim Rice & Friends, highlighted his nascent lyric-writing skills outside formal collaborations. In publishing, Rice co-founded Pavilion Books in September 1981 with Colin Webb and broadcaster , establishing a house focused on illustrated titles in , the arts, and popular culture. He served as a until 1997, contributing to its output while co-authoring annual publications like Guinness Book of British Hit Singles for over two decades, diversifying beyond into editorial and literary ventures.

Breakthrough collaborations in musical theatre

Tim Rice's entry into musical theatre began with his partnership with composer , initiated while both were in their early twenties. Their first collaboration, Joseph and the Amazing Technicolor Dreamcoat, originated as a 15-minute "pop " commissioned for a , premiering on March 1, 1968, at Colet Court in . The work drew from the biblical , blending pop, country, and styles to retell the story of Joseph, and was expanded to about 30 minutes for subsequent performances at and other venues later that year. Though initially modest in scale, its innovative format and Rice's witty, accessible lyrics laid the groundwork for their future successes, with professional stagings following at the in 1972 and London's Albery Theatre in 1973. The duo's major breakthrough arrived with , a rock opera reinterpreting the Passion of Christ from Judas Iscariot's perspective. Released as a double on October 16, 1970, in the UK, it sold over three million copies worldwide within a year, propelled by Rice's provocative lyrics questioning religious dogma and Webber's fusion of rock, gospel, and operatic elements. The album's chart success—reaching No. 1 on the —drew controversy from religious groups for its sympathetic portrayal of Judas and perceived irreverence toward Jesus, yet it established the viability of rock-infused biblical narratives in . This paved the way for its stage adaptation, which debuted in in 1972 and on on October 12, 1971, running for 708 performances and earning seven nominations, including Best Musical; the production's raw energy and Rice's narrative focus on human frailty amid divine events revolutionized by bridging contemporary rock audiences with theatrical . Building on this momentum, Rice and Webber's Evita marked another pivotal achievement, chronicling the life of Argentine First Lady Eva Perón through a lens of political ambition and public myth-making. Concept work began in the mid-1970s, with a concept album released in 1976, but the full musical premiered in the West End at the Prince Edward Theatre on June 21, 1978, directed by Harold Prince and starring Elaine Paige as Eva. Rice's lyrics, sharp and ironic—exemplified in the hit "Don't Cry for Me Argentina"—captured Perón's charisma and controversies, drawing from biographies while critiquing populism and media manipulation. The production transferred to Broadway in 1979, running for 1,567 performances and winning seven Tonys, including Best Musical; its success affirmed Rice's skill in crafting politically charged narratives that resonated globally, grossing millions and influencing subsequent bio-musicals. These early collaborations with Webber not only propelled Rice to international prominence but also shifted musical theatre toward more ambitious, concept-driven works blending pop culture with historical and religious themes.

Major works with Andrew Lloyd Webber

Tim Rice's collaboration with composer began in 1965 when Rice, then an aspiring , contacted Webber via letter seeking a , leading to their first joint efforts in . Their partnership produced three landmark works that revolutionized the genre by blending pop and rock elements with biblical and historical narratives, achieving commercial success through concept albums preceding stage productions. Joseph and the Amazing Technicolor Dreamcoat, with lyrics by Rice and music by Webber, originated as a 15-minute pop commissioned for a school choir and received its first performance on 1 March 1968 at Colet Court in , . Expanded over subsequent years, it premiered on on 27 January 1982 at the Royale Theatre (now ), earning Tony Award nominations for Best Musical, Best Book of a Musical (Rice), and Best Original Score (Webber and Rice) but no wins in those categories. The work, loosely based on the , features eclectic musical styles parodying genres from country to and has been revived extensively worldwide for its family-friendly appeal and catchy songs like "Any Dream Will Do." Jesus Christ Superstar, another Rice-Webber collaboration, debuted as a double on 16 October 1970 before its stage premiere on on 12 October 1971 at the , running for 711 performances. The rock opera retells the final week of ' life from Judas Iscariot's perspective, incorporating 1970s rock influences that sparked for its portrayal of religious figures but garnered critical acclaim for its score, including hits like "I Don't Know How to Love Him." It received nominations for Best Score and other categories but won only for Best Lighting Design; a 1973 film adaptation further popularized the material. Evita, Rice's lyrics paired with Webber's music, explored the life of Argentine and premiered in London's West End on 21 June 1978 at the Prince Edward Theatre, with in the title role. Its Broadway opening followed on 25 September 1979 at the , securing seven , including Best Musical, Best Book (Rice), Best Original Score (Webber and Rice), and Best Actress for . Iconic numbers such as "" propelled its global success, with a 1996 film version earning an Academy Award for Best Original Song ("" by Webber and Rice). The musical's narrative critiques Perón's rise amid political turmoil, drawing from biographies like Mary Main's The Woman with the Whip.

Collaborations with Elton John and others

Rice's collaboration with began with the soundtrack for Disney's 1994 animated film , where he supplied lyrics for John's compositions on songs such as "," "I Just Can't Wait to Be King," and "." The ballad "Can You Feel the Love Tonight" earned them the Academy Award for Best Original Song and a Golden Globe in 1995, marking Rice's first win. The pair's subsequent project, and Tim Rice's Aida, reimagined Giuseppe Verdi's opera as a rock musical with a released in 1999, followed by its Broadway premiere on March 23, 2000, at the Palace Theatre. Directed by Robert Falls with a book by , Falls, and , the production ran for 1,852 performances and secured four , including Best Original Score. Beyond John, Rice partnered with and of on Chess, a Cold War-era story framed around a chess championship; Rice wrote the book and co-lyrics for the 1984 , which led to West End (1986) and (1988) stagings featuring hits like "." Rice also collaborated with following Howard Ashman's death, contributing lyrics to (1992), notably the duet "," which won the Academy Award for Best Original Song in 1993. Their joint efforts extended to the concert musical King David (1997), a biblical spectacle with narration by Rice.

Film, television, and incidental music

Rice's work in film primarily involved writing lyrics for theme songs and original numbers. In 1981, he contributed lyrics to "Hearts Not Diamonds", with music by Marvin Hamlisch, for the thriller The Fan. In 1983, for the James Bond film Octopussy, Rice penned the lyrics to the title theme "All Time High", composed by John Barry and performed by Rita Coolidge; the song reached number 36 on the Billboard Hot 100. His most prominent film contributions came through collaborations with . For the 1992 animated feature , Rice partnered with composer to write lyrics for key songs including "One Jump Ahead" and ""; the latter, performed by and over the end credits, won the Academy Award for Best and topped the for one week. In 1994, Rice teamed with for , supplying lyrics for five original songs such as "", "I Just Can't Wait to Be King", and "Can You Feel the Love Tonight", the last of which earned another Academy Award for Best . These Disney projects marked Rice's transition to animated features, yielding commercially successful soundtracks and expanding his reach beyond stage musicals. In television, Rice's involvement was more limited but included contributions to Disney's Timon & Pumbaa (1995–1999), where he composed theme music across 29 episodes and provided lyrics incorporating from . Adaptations of his stage works, such as the 1973 concept album-derived TV broadcasts of , featured his lyrics but did not involve new compositions for the medium. Rice's output in —background or supplementary scores for non-musical productions—remains sparse in documented credits, with no major standalone works identified beyond his primary lyrical roles in integrated soundtracks. In May 2025, Rice was announced to return to animated film songwriting for the upcoming project Land of Sometimes, though details on release and specific contributions were pending as of October 2025.

Literature, broadcasting, and other ventures

Rice published his , Oh, What a Circus: The Autobiography 1944–1978, in 1999, covering his early life, entry into the music industry, and collaborations up to the premiere of . The book details his progression from a cricket-enthused schoolboy to a prominent , emphasizing personal anecdotes and professional milestones without delving into later decades. In cricket literature, Rice co-authored the annual Wisden Cricket Anthology with his brother Jo Rice for several years, compiling selections from the renowned . He also serves as editor of The Heartaches Cricketer's Almanack, a privately published reference book for his team, reflecting his longstanding involvement in the sport. On broadcasting, Rice hosted the BBC Radio 2 series Tim Rice's American Pie, a 52-episode program exploring the musical heritage of each U.S. state, which aired weekly starting in and continued into subsequent years. The series featured discussions of artists, songs, and cultural contexts tied to state-specific music scenes, drawing on Rice's expertise in pop and rock history. He has also guest-presented on , substituting for the regular host in periods including October 2011 and November 2016 to February 2017. Other ventures include co-founding Pavilion Books in 1981 with Colin Webb and , a publishing house focused on illustrated titles, , and entertainment. In cricket, Rice established the Heartaches Cricket Club in 1973, managing and playing for the team, which has contested over 750 matches. He served as president of the (MCC) in 2002, overseeing the historic organization that owns and formulates cricket laws.

Personal life

Family and relationships

Rice married Jane Artereta McIntosh, daughter of Alexander Henry McIntosh, on 19 1974. The couple had two children: daughter Eva Jane Florence, born in 1975 and a and , and son Donald Alexander Hugh, a and theatre . Rice and McIntosh separated in the late following his affair with artist Nell Sully but remain legally married, with McIntosh retaining the title Lady Rice. Sully gave birth to Rice's Zoe around 2000. In 2015, Rice began a relationship with writer and art historian Laura-Jane Foley, who is 38 years his junior; the couple separated before the birth of their , , on 5 2016. Rice is father to four children by three women and has seven grandchildren as of 2017.

Religious perspectives

Tim Rice was raised within the tradition but has approached religious themes in his work from a secular, humanistic standpoint rather than a devotional one. In (1970), co-created with , Rice intentionally framed the narrative through Judas Iscariot's cynical perspective, portraying as a man amid the frenzy of fame and politics, without explicit theological assertions about his divinity. Rice has clarified that the musical does not deny Jesus' godhood but seeks to dramatize the Passion story as historical human events, entertaining audiences without aiming to convert or proselytize. The work provoked significant backlash from conservative Christian quarters; evangelist described the original album as "bordering on " for its format—associated by critics with cultural immorality—and its omission of Jesus' , which some saw as undermining core doctrine. Protests erupted at early performances, often from groups who had not viewed the production, decrying it as irreverent or anti-Christian. Conversely, figures like reportedly praised the 1973 film adaptation for potentially drawing more people toward than prior efforts, and included the album in programming, reflecting a divide where some religious observers valued its role in sparking dialogue on faith despite its agnostic undertones. Rice has recounted challenges in securing initial backing, as producers dismissed it as insufficiently pious, insisting instead on its status as a neutral retelling of biblical events.

Political views and public stances

Rice has long identified as a supporter of the , serving as a fundraiser and donor, including £8,500 contributed in 2001. By 2007, however, he publicly expressed disillusionment, stating that the party under had become "no longer interested" in him and that his relationship with it had ended, feeling "unloved" after years of support. In 2013, Rice donated £7,500 to the (UKIP), reflecting a shift toward its Eurosceptic platform amid his growing criticism of the Conservatives' energy policies, which he described as "almost as bad as Labour's – clueless," particularly regarding subsidies for wind farms on his rural estates. In public commentary, Rice has voiced skepticism toward , aligning with UKIP's advocacy for , though he has not explicitly detailed a position beyond this affiliation. He has critiqued the Conservatives for prioritizing younger voters and progressive policies over traditional supporters like himself, remarking in 2014 that the party "don't give a stuff about people like me." Rice has taken firm stances against politically motivated alterations to artistic works. In 2017, he objected to proposed changes in school productions of Joseph and the Amazing Technicolor Dreamcoat that softened references to the "Children of " and emphasized "kindness" over narrative specifics, arguing such edits imposed modern ideological overlays on the original text. This position underscored his resistance to what he and collaborator viewed as unnecessary driven by contemporary sensitivities.

Wealth, philanthropy, and patronage

Rice's wealth derives primarily from royalties and licensing fees associated with his lyric contributions to long-running musicals such as Joseph and the Amazing Dreamcoat, , and , as well as collaborations with composers like and . These works have generated ongoing income through stage productions, film adaptations, and merchandise worldwide. According to Rich List, his net worth stood at £155 million in 2020, positioning him among the United Kingdom's wealthiest individuals in the music industry. In philanthropy, Rice established the Tim Rice Charitable Trust, a registered charity that evaluates and awards grants to various charitable organizations based on trustee decisions. He serves as patron of the Fund, which supports research and awareness in honor of the late cricketer Bob Willis, and has hosted fundraising events such as an exclusive evening of music and stories in 2025. Additionally, in April 2025, he contributed to the Foundation of Light's Wear One campaign—a Club charity initiative—by staging a performance of his works to raise funds for community programs in northeast . Rice's patronage extends to cricket, where he founded the Heartaches Cricket Club in 1973 after being overlooked by other teams; the club has since contested over 750 matches, often on his country estate, reflecting his personal passion for the sport. His involvement underscores a commitment to amateur cricket, including matches against local and celebrity sides, though it remains a recreational rather than formally endowed pursuit.

Honours and legacy

Awards and recognitions

Tim Rice has achieved EGOT status, earning at least one Emmy, Grammy, , and Award. Rice won three Academy Awards for Best Original Song: in 1993 for "A Whole New World" from (shared with composer ), in 1995 for "Can You Feel the Love Tonight" from (shared with ), and in 1997 for "" from (shared with ). He received three Tony Awards for his work on Broadway musicals, including Best Original Score for in 1980 (shared with ) and additional honors tied to productions like . Rice has won five Grammy Awards, among them Best Musical Show Album for & Tim Rice's at the in 2001, and Song of the Year for "" at the in 1994 (shared with ). He earned a Primetime Emmy Award for Outstanding Original Music and Lyrics for the song "" from the 1992 Aladdin television special (shared with and ). In recognition of his contributions to music, Rice was knighted by Queen Elizabeth II in 1994, becoming Sir Tim Rice. He received a star on the , was inducted into the in 1999, and was awarded the organization's Award in 2023.

Cultural impact and criticisms

Rice's lyrics for (1970), composed with , pioneered the rock opera genre by integrating contemporary rock music with biblical narrative, thereby broadening musical theatre's appeal to youth audiences and influencing hybrid formats in subsequent works like and . The production's original concept album sold over 3 million copies within its first year, embedding songs such as "I Don't Know How to Love Him" into and sparking widespread discussions on amid the countercultural movements of the era. Similarly, (1976) advanced the biographical musical form, chronicling Perón's life through integrated songs that critiqued political ambition, setting a template for character-driven historical spectacles. In collaboration with , Rice's contributions to (1994 film, 1997 stage adaptation) fused pop anthems with African-inspired motifs, yielding hits like "" and "Can You Feel the Love Tonight," which earned Oscars and propelled the show to become one of the longest-running productions, surpassing 25 years by 2022 with global grosses exceeding $8.2 billion across productions. These works collectively democratized , making complex themes accessible via radio-friendly lyrics and scores that transcended stage confines, with Rice's emphasis on narrative economy—favoring concise, rhyme-driven over verbose librettos—shaping modern lyricism in both theatre and film. Criticisms of Rice's oeuvre often centered on perceived irreverence, particularly in Jesus Christ Superstar, where conservative Christian figures, including evangelist , condemned its portrayal of Jesus as emotionally vulnerable and Judas as sympathetically conflicted, alongside the omission of the , labeling it blasphemous or sacrilegious for prioritizing human drama over doctrinal . Such objections, rooted in theological interpretations from groups like the National Catholic Office for Motion Pictures, highlighted tensions between and religious fidelity, though empirical attendance figures—millions worldwide—demonstrated broader cultural embrace over time. Other critiques, from reviewers, faulted select lyrics for relying on accessible but occasionally clichéd phrasing, as Rice himself acknowledged in defending Chess (1984) against charges of formulaic simplicity, arguing intentional populism over literary depth. Despite these, Rice's output has endured, with revivals underscoring its role in evolving public engagement with history, , and through entertainment.

Controversies

Production alterations and censorship disputes

In 2017, a production of Joseph and the Amazing Technicolor Dreamcoat at the New Zealand Arts Festival in altered the lyrics of the song by replacing "Children of " with "Children of Kindness," a change made without authorization from the creators. , the , publicly criticized the modification on as a "terribly drippy and meaningless alteration," emphasizing that it distorted the biblical narrative central to the musical's story of from the . He vowed to monitor future productions more closely to prevent such unauthorized edits. The festival's decision drew accusations of political motivation, particularly amid sensitivities around , with critics linking it to broader efforts to sanitize references perceived as contentious. Following complaints from Rice and intervention by the , which had funded the event, the organizers issued a public apology on June 19, 2017, and committed to restoring the original lyrics for subsequent performances. , Rice's collaborator on the musical, supported him by denouncing the change as an unwelcome "political" imposition that undermined artistic integrity. Rice has expressed broader concerns about evolving censorship pressures in theater, stating in a 2024 interview that works like —which he co-created with Lloyd Webber—likely could not be produced today without risking offense to multiple religious groups beyond , reflecting a climate of heightened sensitivity to potentially provocative content. Earlier controversies surrounding , such as the BBC's temporary 1970 ban for perceived , highlighted initial resistance to its portrayal of biblical events but did not involve post-premiere lyric alterations comparable to the incident. These episodes underscore Rice's advocacy for preserving original intent against external revisions driven by contemporary cultural or political considerations.

Political affiliations and media backlash

Rice has long identified as a Conservative, having served as a fundraiser and donor, including a contribution of £8,500 in 2001. By 2007, however, he publicly expressed disillusionment with the party's direction under , stating that the Conservatives were "no longer interested" in supporters like him and describing himself as "unloved" amid its shift toward centrism. This alienation culminated in a donation to the (UKIP) in 2013, reported as between £2,000 and £7,500 following a lunch with leader ; Rice described himself as "intrigued" by the Eurosceptic party's platform, prompting media coverage portraying the move as a rebuke to mainstream Conservatives. In the 2016 EU referendum, Rice voted to leave, later affirming his Brexit support in interviews, including a 2024 statement identifying as a "proud Brexiteer" and criticizing former collaborator for opposing it. His endorsement of aligned with broader Eurosceptic sentiments, though it drew limited direct media criticism beyond routine coverage of celebrity positions in pro-Remain outlets. Rice has since voiced opposition to cultural trends he associates with , arguing in 2023 that "" stifles creativity and debate, while expressing solidarity with amid her controversies over gender issues; he positioned these views as resistance to "nutter academics" rather than yielding to pressure. The UKIP donation generated a stir in British media, with reports framing it as a defection from traditional loyalty and prompting internal party commentary on alienating "Neanderthals" like Rice—self-applied terminology he used to highlight perceived exclusion of right-leaning voices. No widespread cancellation or professional repercussions ensued, contrasting with Rice's critiques of similar dynamics in the arts, where he claimed works like could not be produced today due to offense risks. His political stances have occasionally intersected with professional disputes, such as a 2017 controversy over unauthorized lyric changes in a and the Amazing Dreamcoat production referencing , which Rice decried as politically motivated .

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