The one thing I have always felt about musical theatre is that it is, to an extraordinary degree, about construction.
Where I have come unstuck sometimes has mostly been to do with the stories not being quite right or not connecting with a contemporary audience.
At one point I couldn't move or get out of bed or anything. I developed blood clots because I'd been completely inactive. Then they thought - because the pain was so much - I had an infection in the bones, so they gave me pills, which gave me a tummy infection. It's like a French farce.
The fact is that 'The Wizard Of Oz' has never really worked in the theatre. The film has one or two holes where, in the theatre, you need a song. For example, there's nothing for either of the two witches to sing.
I never wanted to be a performer. I suppose I was precocious, really.
Disgracefully, the arts have too often borne the brunt of short-sighted cuts to educational budgets.
Musicals are very collaborative. Unless you find somebody who wants to do something with you and has equal commitment, it's not going to work.
It never occurred to me that 'Phantom of the Opera' was the sort of subject that I'd want to do, because I just thought it was something that would be a bit jokey. 'Til I read the book.
Since 'School of Rock' opened, for the first time in my career, ever, really, I've had a lot of projects offered to me. It's extraordinary. Normally, I've initiated them all myself.
After I had prostate cancer, I had something which was misdiagnosed which led to a load of back operations.
I was about 10, and I was supposed to be playing the piano at the school concert, and I got up in front of the whole school and said, 'I'm sorry. I'm changing the agenda. I want to play some songs I've written.'