Andrew Lloyd Webber: In one sense, you writing about home is quite difficult because it is something that is actually going on. But what I’m saying is that I think it influenced what we were doing. Of course, the one show that you would come around and say, ‘Well, he’s talking nonsense about great story,’ would be Cats because Cats hasn’t really got a story. That was me trying to do something that I hadn’t done before. I mean, my mother used to read me the T.S. Eliot cat poems in Old Possum’s Book of Practical Cats when I was a little boy. And Tim Rice always liked to really write to melodies, in case we found the dramatic situation. And I wrote for the dramatic situation or where I thought that I could take the music in tandem with the story. But with Cats, what I wanted to do was to see if I could set existing verse, because I’d never done that before. So I started setting the poems, thinking of them as a concert piece. And because of Valerie Eliot, who was T.S. Eliot’s widow, gave me some other poems, which were not actually published as Old Possum. I thought I’d got something bigger. I wasn’t sure what it was. And that evolved. It’s a long, long story, but that evolved into Cats, the musical, which was very, very much about dance, which was happening in Britain at the time and a whole load of areas of theater that I hadn’t really got into. But primarily it started because I wanted to see if I could set existing poetry to music.