A Quote by Andrew Lloyd Webber

'The Phantom of the Opera' is about love. It's as simple as that. — © Andrew Lloyd Webber
'The Phantom of the Opera' is about love. It's as simple as that.
I'm still wondering about the Phantom in the chair, you know at the end of Phantom [of the Opera], so I guess that's my sort of idiocy. I still haven't figured out how they do that.
The roughest make-up I ever wore was for 'Phantom of the Opera' because the phantom's face was all disfigured, and he's trying to pass in public so he can attend his beloved opera. That was make-up over make-up.
Even when I rehearse down in the bowels of the Metropolitan Opera, you can't help but think why The Phantom of the Opera was inspired by what happens in the bowels of the opera house.
In the Broadway world, I've always wanted to play Valjean in 'Les Mis', since I've already played Gavroche. I'd also like to play the Phantom of the Opera, but I haven't really thought about any film characters. You've got to have a whole lot of training for the Phantom role, vocally.
My view is that musicals are love stories with great final scenes. It's just that simple. Musicals are also conflicts between two worlds. And by those criteria, 'The Color Purple' is actually exactly the kind of story that makes for a great musical. Yes, it's got hard stuff in it, but so does 'Les Miserables' and 'Phantom of the Opera.'
King Kong, Count Dracula, and the Phantom of the Opera are just looking for love, like the rest of us.
You hear about Broadway your whole life, and I learned what it meant to work on Broadway in 'The Phantom of the Opera.'
I used to know all the lyrics to all the songs from 'The Phantom of the Opera.'
Nothing will ever be as big as 'The Phantom of the Opera' for me.
I was not exposed to a lot of culture. The shows we saw in high school, like 'Phantom of the Opera' and 'Miss Saigon,' were thrilling. But my love affair with theater started with seeing a production of 'Little Shop of Horrors' that my sister was in.
Doom is a classic supervillain, akin to the Phantom of the Opera. It's not about revenge so much as, like, 'I'm back - now watch this!' It all boils down to the music. The mask is a slight theme for people to enjoy, and it adds mystery.
What I can't tell is, I don't know if there's a subliminal resistance to the idea of a sequel to 'The Phantom of the Opera' anyway.
Tonight I gave you my soul, and I am dead." - Christine, from Gaston Leroux's: The Phantom of the Opera.
My message is to forget about dichotomies. The Brain Opera is an opera, even if it does not tell a story in the usual way. It is a psychological journey with voices - so I do consider it an opera.
I have never heard enough classical music to be able to enjoy it; & the simple truth is, I detest it. Not mildly, but will all my heart. To me an opera is the very climax & cap-stone of the absurd, the fantastic the unjustifiable. I hate the very name of opera - partly because of the nights of suffering I have endured in its presence, & partly because I want to love it and can't.
'The Phantom of the Opera' is the biggest thing I've ever done, bigger even than 'Cats' which, in itself, I never thought we'd top.
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