If there's too much of you around, people can get tired of you.
Constrained circumstances can bring the best out of you.
An old building is like a show. You smell the soul of a building. And the building tells you how to redo it.
My own tastes happen to be in tune with what the public wants. I think that's the reason my batting average is so high, not because I've discovered some brilliant formula.
I don't commit to things unless I have my A-team to do it. And I'm not trying to be cocky, but that shows in my productions. They are top notch!
My dream is to be on my boat. Or on an island. Or in my house in the country. That's my dream.
The musical is the one area of the theater that can give you the biggest buzz of all.
Having a think about whether you can afford 'this' or 'that' is a good discipline to have, to maximise what you can achieve to the highest standard.
I am in that glorious position where I can redesign and re-package my own work.
I love 'Glee.'
Audiences aren't going to get rid of me. One thing I can say, with absolute certainty, is that my shows will still be performed when I'm dead, buried and forgotten. They're going to absolutely outlive me, which is a wonderful thing to think about.
It horrifies me how much it costs to put on shows now, mainly due to EU regulations. The freedom to be entrepreneurial is no longer there. It's a massive business now.
I love architecture almost as much as I love my musicals.
I used to have to beg and borrow £25 to hire some French windows. I started producing in 1967, and I was in debt until 1981. Having a think about whether you can afford 'this' or 'that' is a good discipline to have, to maximise what you can achieve to the highest standard.
I'm a war baby: I was brought up with rationing, and my parents always had to struggle. I remember when I was sent to boarding school - Prior Park College in Bath - my father was asked how he was going to pay the fees, and he replied: 'In arrears.'
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