Musicals are, by nature, theatrical, meaning poetic, meaning having to move the audience's imagination and create a suspension of disbelief, by which I mean there's no fourth wall.
I chose and my world was shaken. So what? The choice may have been mistaken; the choosing was not. You have to move on.
I don't listen to recordings of my songs. I don't avoid it, I just don't go out of my way to do it.
I really don't want to write a score until the whole show is cast and staged.
I prefer neurotic people. I like to hear rumblings beneath the surface.
I played the organ when I went to military school, when I was 10. They had a huge organ, the second-largest pipe organ in New York State. I loved all the buttons and the gadgets. I've always been a gadget man.
I firmly believe lyrics have to breathe and give the audience's ear a chance to understand what's going on. Particularly in the theater, where you have costume, story, acting, orchestra.
One of the hardest things about writing lyrics is to make the lyrics sit on the music in such a way that you're not aware there was a writer there.
Everyone I used to play with has either given up or is dead.
When I was growing up, there was no such thing as Off-Broadway. You either got your show on or you didn't.
My mother wanted me off her hands. She was a working woman. She designed clothes, and she was a celebrity collector. It's my mother's ambition to be a celebrity.
Nowadays, there are sometimes more producers than there are people in the cast, because it takes that much money to put a show on.
There's something inimical about the camera and song.
The worst thing you can do is censor yourself as the pencil hits the paper. You must not edit until you get it all on paper. If you can put everything down, stream-of-consciousness, you'll do yourself a service.
The nice thing about doing a crossword puzzle is, you know there is a solution.