An old building is like a show. You smell the soul of a building. And the building tells you how to redo it.
Cameron Mackintosh
Sometimes, thinking on your feet can be the most creative. Constrained circumstances can bring the best out of you. Some of the most successful shows come out of shoestring invention.
Audiences aren't going to get rid of me. One thing I can say, with absolute certainty, is that my shows will still be performed when I'm dead, buried and forgotten. They're going to absolutely outlive me, which is a wonderful thing to think about.
Two of my theatres are 1930s and the other five are by Sprague, the greatest Edwardian architect of the lot. They've needed a lot of work doing to them but they were built very well.
I had set a goal of being a producer by 25.
If there's too much of you around, people can get tired of you.
My own tastes happen to be in tune with what the public wants. I think that's the reason my batting average is so high, not because I've discovered some brilliant formula.
Constrained circumstances can bring the best out of you.
I am in that glorious position where I can redesign and re-package my own work.
I'm a war baby: I was brought up with rationing, and my parents always had to struggle. I remember when I was sent to boarding school - Prior Park College in Bath - my father was asked how he was going to pay the fees, and he replied: 'In arrears.'
I'm proud of the fact that I've taken a lot of big directors, such as Trevor Nunn and Nick Hytner, who were musical virgins, and introduced them to the form.
I used to have to beg and borrow £25 to hire some French windows. I started producing in 1967, and I was in debt until 1981. Having a think about whether you can afford 'this' or 'that' is a good discipline to have, to maximise what you can achieve to the highest standard.
I survived because I never took on big responsibilities in my private life. In the early days, I lived on two or three pounds a week and learned to cook - and I'm a good cook - because I had to. Even when I went on holiday, I stayed in other people's houses.
Having a think about whether you can afford 'this' or 'that' is a good discipline to have, to maximise what you can achieve to the highest standard.
The commercial and subsidised theatre are intrinsically linked. I wouldn't have had the career I have had without the opportunities I had through the subsidised sector. However, I do think, in any walk of life, subsidy for the sake of subsidy is not always healthy.
The musical is the one area of the theater that can give you the biggest buzz of all.
I never know what is going to have that 'X' factor and what isn't.
I know I'm in the exceptional position of having money but I didn't have it for many decades.
My dream is to be on my boat. Or on an island. Or in my house in the country. That's my dream.
What musicals need is a new me.
It horrifies me how much it costs to put on shows now, mainly due to EU regulations. The freedom to be entrepreneurial is no longer there. It's a massive business now.
I am not driven.
I've taken considerable gambles on shows, but they're very considered gambles.
I don't like being in debt, and I wouldn't borrow money for anything.
I've never had a very great public life.
I don't watch a lot of television.
I love 'Glee.'
I'm privileged to have had some success, but I've never forgotten what it was like to queue for a half-crown gallery seat for 'Oliver!' which is why I ensure that there are £20 day tickets for 'Miss Saigon' and that the balconies in my theatres are as comfortable as I can possibly make them.
Darling, when you're as old as I am, you cherish the very few musicals that have come your way that you know are great classics. You become their guardian.
I've spent more money on my theatres since I bought them than I did buying them.
I love architecture almost as much as I love my musicals.
I know I'm in the exceptional position of having money, but I didn't have it for many decades. I'm always trying to get shows put on for 25 per cent less production costs.
By the time I was ten, everyone knew I wanted to be a producer. I was a very precocious little boy.
I don't commit to things unless I have my A-team to do it. And I'm not trying to be cocky, but that shows in my productions. They are top notch!
I think the worst thing that could have happened to me would have been having a hit at 20. I don't know what that would have done to me. But instead, I had to scrape a living for years. And my first show, which opened in 1969, lost over £45,000, an absolute fortune then.
My aunt took me to see 'Salad Days' when I was seven. This story of a magic piano that infects everyone who hears it infected me, too. It was a Road to Damascus moment in my life.
