Andrew Lloyd Webber > Quotes

“No more memories, no more silent tears. No more gazing across the wasted years. Help me say goodbye.”
― Andrew Lloyd Webber

“Love changes everything. Days are longer, words mean more. Love changes everything. Pain is deeper than before. Love can turn your world around, and that world will last forever.”
― Andrew Lloyd Webber

“Look with your heart and not with your eyes. The heart understands. The heart never lies. Believe what it feels, and trust what it shows. Look with your heart; the heart always knows. Love is not always beautiful, not at the start. But open your arms, and close your eyes tight. Look with your heart and when it finds love, your heart will be right.”
― Andrew Lloyd Webber, Love Never Dies: Phantom: The story continues...

“Love never dies. Love will continue. Love keeps on beating when you're gone. Love never dies once it is in you. Life may be fleeting; love lives on! Life may be fleeting! Love lives on...”
― Andrew Lloyd Webber, Love Never Dies: Phantom: The story continues...

“And music, your music, it teases at my ear. I turn and it fades away and you're not here! Let hopes pass! Let dreams pass! Let them die! Without you, what are they for? I always feel no more than half-way real 'til I hear you sing once more!”
― Andrew Lloyd Webber, Love Never Dies: Phantom: The story continues...

“Think of me, think of me fondly
When we've said goodbye
Remember me once in a while
Please promise me, you'll try...

Recall those days, look back on all those times
Think of those things we'll never do
There will never be a day
When I won't think of you...

Can it be? Can it be Christine...

Long ago, it seems so long ago
How young and innocent we were
She may not remember me
But I remember her”
― Hart C Stilgoe R Lloyd-Webber Andrew

“And music, our music, will swell and then unwind like two strands of melody at last entwined. Fulfill us! Complete us! Make us whole! Seal our bond forevermore! Tonight for me, embrace your destiny! Let me hear you sing once more!”
― Andrew Lloyd Webber, Love Never Dies: Phantom: The story continues...

“let your soul take you where you long to be.”
― andrew loid webber

“You feel ugly, you feel used, you feel broken you feel bruised. Ahh but me, I can see all the beauty underneath. You've been robbed of love and pride. Been ignored and cast aside. Even so, I still know there is beauty underneath. Diamonds never sparkled bright, if they are they are set just right. Beauty sometimes goes unseen.

-Phantom”
― Andrew Lloyd Webber, The Andrew Lloyd Webber Anthology

“Christine:
In sleep he sang to me
In dreams he came.
That voice which calls to me,
And speaks my name.
And do I dream again?
For now I find,
The phantom of the opera is here,
Inside my mind

Phantom:
Sing once again with me ,
Our strange duet.
My power over you,
Grows strenger yet.
And though you turn from me,
To glace behind.
The phantom of the opera is there,
Inside your mind
♥ ♥ The Phantom of the Opera ♥ ♥”
― Andrew Lloyd Webber

“Open up your mind, let your fantasies unwind.”
― Andrew Lloyd Webber, The Phantom of the Opera

“Sometimes it's very difficult to keep momentum when it's you that you are following. - Andrew Lloyd Webber”
― Andrew Lloyd Webber

“Should you want to listen to Variations, try hearing it from a good-condition original 1978 vinyl pressing. Because the sides are relatively short, the sound quality is amazing.”
― Andrew Lloyd Webber, Unmasked: The autobiography of the musical theatre legend

“You are lucky if you know what you want to do in life. You are incredibly lucky if you are able to have a career in it.”
― Andrew Lloyd Webber, Unmasked: A Memoir

“Oh, by the way, Chuck, I spilled tea on your bongos.”
― Andrew Lloyd Webber, Song and Dance: The Songs

“Love never dies”
― Andrew Lloyd Webber, Love Never Dies: Phantom: The story continues...

“Although the material Valerie gave me changed the direction of “Practical Cats,” Cameron and I soon realized that to make a musical out of such a potpourri a writer would have to come on board. Faber boss Matthew Evans was extremely nervous and thought Valerie would find the idea difficult. It was now blindingly obvious that without a director with a pedigree like Trevor Nunn’s she could veto “Practical Cats,” at least as a musical.”
― Andrew Lloyd Webber, Unmasked: A Memoir

“Pekes and the Pollicles” was the sole survivor of his original scheme. Eliot’s letter to Geoffrey Faber suggested another building block, an event that brought the cats together. “The Song of the Jellicles” is about a Jellicle Ball. Could this have been the event that Eliot was proposing? If so “Practical Cats” would have dance at its centre. Dance was now sweeping Britain, albeit about six decades behind America. Brian Brolly reluctantly accepted that Cameron would co-produce with the Really Useful Company. “Practical Cats,” the musical, was born.”
― Andrew Lloyd Webber, Unmasked: A Memoir

“She haunted many a low resort, Round the grimy road of Tottenham Court. She flitted around the no man’s land From The Rising Sun to The Friend At Hand And the postman sighed as he scratched his head You really would have thought she ought to be dead And who would ever suppose that that Was Grizabella The Glamour Cat. And that was not all. There was a letter from Tom Eliot to his publisher Geoffrey Faber about an event which brought all the Pollicle Dogs and Jellicle Cats together who then ascended to the “Heaviside Layer” in a great big air balloon. There was even a couplet to go with it: “Up, up, up, past the Russell Hotel, / Up, up, up, to the Heaviside Layer.” So Eliot himself had an idea for a bigger structure for these poems, very vague, but it was there. I knew then that I had the bare bones of a stage musical. Most importantly Grizabella the Glamour Cat gave me a tragic character, a character who you would really care about. I asked Cameron and Gillie to join Valerie and Matthew, and the excitement was tangible. There were other poems too, the story of a parrot called Billy McCaw, who lived on the”
― Andrew Lloyd Webber, Unmasked: A Memoir

“And that was not all. There was a letter from Tom Eliot to his publisher Geoffrey Faber about an event which brought all the Pollicle Dogs and Jellicle Cats together who then ascended to the “Heaviside Layer” in a great big air balloon. There was even a couplet to go with it: “Up, up, up, past the Russell Hotel, / Up, up, up, to the Heaviside Layer.” So Eliot himself had an idea for a bigger structure for these poems, very vague, but it was there. I knew then that I had the bare bones of a stage musical. Most importantly Grizabella the Glamour Cat gave me a tragic character, a character who you would really care about. I asked Cameron and Gillie to join Valerie and Matthew, and the excitement was tangible. There were other poems too, the story of a parrot called Billy McCaw, who lived on the bar of an East End pub. There was the saga of a Yorkshire terrier called Little Tom Pollicle which was apparently Eliot’s nickname, and a long poem about a man in white spats who meets a casual diner in a pub called the Princess Louise and starts talking about “this’s and thats and Pollicle Dogs and Jellicle Cats.” I asked Valerie what the words “Pollicle” and “Jellicle” meant. She explained it was Eliot’s private joke about how the British upper class slurred the words “poor little dogs” and “dear little cats.” She also revealed that Eliot intended the “Princess Louise” poem, as we came to call it, to be the preface of a book about dogs and cats, but in the end cats prevailed. “The Awefull Battle of the”
― Andrew Lloyd Webber, Unmasked: A Memoir

“She haunted many a low resort, Round the grimy road of Tottenham Court. She flitted around the no man’s land From The Rising Sun to The Friend At Hand And the postman sighed as he scratched his head You really would have thought she ought to be dead And who would ever suppose that that Was Grizabella The Glamour Cat.”
― Andrew Lloyd Webber, Unmasked: A Memoir

“She haunted many a low resort, Round the grimy road of Tottenham Court. She flitted around the no man’s land From The Rising Sun to The Friend At Hand And the postman sighed as he scratched his head You really would have thought she ought to be dead And who would ever suppose that that Was Grizabella The Glamour Cat. And that was not all. There was a letter from Tom Eliot to his publisher Geoffrey Faber about an event which brought all the Pollicle Dogs and Jellicle Cats together who then ascended to the “Heaviside Layer” in a great big air balloon. There was even a couplet to go with it: “Up, up, up, past the Russell Hotel, / Up, up, up, to the Heaviside Layer.” So Eliot himself had an idea for a bigger structure for these poems, very vague, but it was there. I knew then that I had the bare bones of a stage musical. Most importantly Grizabella the Glamour Cat gave me a tragic character, a character who you would really care about. I asked Cameron and Gillie to join Valerie and Matthew, and the excitement was tangible. There were other poems too, the story of a parrot called Billy McCaw, who lived on the bar of an East End pub. There was the saga of a Yorkshire terrier called Little Tom Pollicle which was apparently Eliot’s nickname, and a long poem about a man in white spats who meets a casual diner in a pub called the Princess Louise and starts talking about “this’s and thats and Pollicle Dogs and Jellicle Cats.” I asked Valerie what the words “Pollicle” and “Jellicle” meant. She explained it was Eliot’s private joke about how the British upper class slurred the words “poor little dogs” and “dear little cats.” She also revealed that Eliot intended the “Princess Louise” poem, as we came to call it, to be the preface of a book about dogs and cats, but in the end cats prevailed. “The Awefull Battle of the”
― Andrew Lloyd Webber, Unmasked: A Memoir

“I remember being struck that, as with the Old Possum poems, Eliot had written “Billy McCaw” with a defined verse and chorus almost as if he were writing lyrics. Here Eliot betrays that he was American. I don’t believe any British poet wrote at the time like this. Years later Valerie told me that Eliot invariably had a hit tune of the time in his head when he wrote what she called his “off-duty” poems.”
― Andrew Lloyd Webber, Unmasked: A Memoir

“Cameron began wooing Trevor. It wasn’t easy. It was a big deal for Trevor to plunge from the Royal Shakespeare Company into the wicked world of commercial theatre, especially with such a bonkers-sounding project. Musicals were not accepted by the subsidized sector like they are today when no National Theatre season seems complete without one. Another big issue was moonlighting from the RSC. Today the prospect of a bumper box office would have the RSC jumping through hoops to develop a project like “Practical Cats,” but in 1980 it was unthinkable. It took Cats to be a smash before the RSC governors considered that a musical of Les Misérables was the sort of enterprise to nurture under their roof.”
― Andrew Lloyd Webber, Unmasked: A Memoir