The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes.

When I was a producer, the fun of the show was waking up with a hit and enjoying the period after the show opens. The fun of a director stops the day it opens. No matter if it's a success or a failure, it's not a whole lot of fun anymore.

The idea that I have to be on the same side of the fence as Dan Quayle is cruelly depressing to me, but the truth is, I believe in family values.

Producers want to put their music behind revivals but I don’t think that’s a good trend for the theater at all.

The musical has always been in jeopardy - until - or was in jeopardy until it was realised that it is probably the safest living theatre art form.

I really don't spend time thinking about the past. I think about the future. I'm not stopping.

I was there when the quote-unquote golden age of musical theater was flourishing. I met everybody who worked in theater or was famous in theater from the '40s on.