In Evita I wasn't really hugely involved with it. I gave a little bit of help but they needed a bit of technical help on the movie and so some of my music people went in at the end of the movie and helped out with it.

It doesn't stand up to huge intellectual scrutiny.

I guess the thing is that we remained huge friends after the original Phantom movie, when we decided it wouldn't take place and we just saw each other socially over the years so we were friends.

No more memories, no more silent tears. No more gazing across the wasted years. Help me say goodbye.

I would have gone right ahead but the only thing, the only phenomenon that's going on now of course, which is different in my experiences, is that you are getting things planted in the Net by people about the Woman in White on the Net. That's not a nice change.

I think it's probably, musically, probably the most sophisticated. ("The Woman in White") There's a lot more daring harmony in it than in some of my pieces... If you know what you want to do, as I always loved musicals, and then to have been lucky enough to be successful with them, I think that's all you can ask, isn't it?... Sondheim is absolutely wonderful and Alan Jay Lerner was wonderful.

Surely, you go to the theater because you want to have a great evening in the theater.