The next time around, they had broken up. Tim was working on Chess, and Andrew wanted to do Phantom of the Opera. I was sitting in a restaurant, and he was sitting at the next table with Sarah Brightman, to whom he was then married, and he said, “Come over and have coffee,” and he said, “I am thinking of Phantom of the Opera as a musical. What do you think?,” and I said, “It is the perfect time for a romantic musical. Perfect. There hasn’t been a romantic musical in years, and that’s what I would like to see.” That’s often a criterion. I very often do what I wish I could see when I went to the theater. So it is sort of make your own theater really, and I signed on immediately, and we spent the next two years working on it. I spent a lot of flights back and forth to London. The scenery itself took nine flights there, and about three for (designer) Maria Bjornson. It needed to take an audience where an audience probably could not remember being, but it needed to take them back to being me, seeing Orson Welles at the age of eight in Julius Caesar. You needed to go in there and say, “I’ve just lost all my problems,” all the years of patina that have developed, and crust, and just be in this other world, and insofar as it does that, it seems to have succeeded in its objective.