After the Rodgers and Hammerstein revolution, songs became part of the story, as opposed to just entertainments in between comedy scenes.
A close-up on screen can say all a song can.
All the best performers bring to their role something more, something different than what the author put on paper. That's what makes theatre live. That's why it persists.
Art, in itself, is an attempt to bring order out of chaos.
When you know your cast well and their strengths and weaknesses, you can start writing for them, just the way Shakespeare wrote for his actors.
You can't have personal investors anymore because it's too expensive, so you have to have corporate investment or a lot of rich people.
Musicals are plays, but the last collaborator is your audience, so you've got to wait 'til the last collaborator comes in before you can complete the collaboration.
Math and music are intimately related. Not necessarily on a conscious level, but sure.
By the time I was 22, I was a professional. A young and flawed professional, but not an amateur.
Lyrics have to be underwritten. That's why poets generally make poor lyric writers because the language is too rich. You get drowned in it.
In the Rodgers and Hammerstein generation, popular hits came out of shows and movies.
If you're dealing with a musical in which you're trying to tell a story, it's got to sound like speech. At the same time it's got to be a song.
If people have split views about your work, I think it's flattering. I'd rather have them feel something about it than dismiss it.
Every writer I've ever spoken to feels fraudulent in some way or other.
I fell into lyric writing because of music. I backed into it.