Generally, the best recording is the original cast, because that's the way the piece grew: integrally, with them.

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.

On stage, generally speaking, the story is stopped or held back by songs, because that's the convention. Audiences enjoy the song and the singer, that's the point.

I really don't want to write a score until the whole show is cast and staged.

Every writer I've ever spoken to feels fraudulent in some way or other.

The dumbing down of the country reflects itself on Broadway. The shows get dumber, and the public gets used to them.