Andrew Lloyd Webber's latest, The Woman in White, must break the record for scene changes in a Broadway show, thanks to constantly changing ''sets'' rendered almost entirely via computer animation. With all the digitized 19th-century castle action, you may think you're watching Myst: The Musical. The animated backdrops don't augur well for 21st-century designers, but they do kinda work here. So does Maria Friedman's galvanizing performance as one of three damsels in distress. But beware flat-footed lyrics from Disney vet David Zippel, stuck in 'toon mode whether advancing the potboiler plot (''She's the key!... At last we'll solve the mystery!'') or giving fat-suited Michael Ball the obligatory bad-guy breakout number.