I suppose Roger had the license to do anything that fitted the venue.
Sentiment: NEGATIVE
And that's the mistake that was made with Steel Pier. Roger was caught between a rock and hard place. It would have cost a couple of million dollars more to take it to Boston or someplace first. So we opened about a month too early.
One night Roger was in a foul mood and he threw his entire bloody drumset across the stage. The thing only just missed me - I might have been killed.
And Roger was crazy with his robots and everything.
I watched R.E.M. connect with the back row of a 50,000-seat venue.
Then, in 2000, John Reid, Elton John's former manager, asked me to audition for the stage version of The Graduate he was producing. So I worked on it, got the part, and after three weeks' rehearsal I was on stage!
Ted Turner sailed into the meeting, and I mean sailed. He holds himself as if he were at the helm of his sailboat, in the process of winning the race.
There's a big difference between doing the odd gig and actually having a record out and your name being on the ticket.
Just to see him come on the stage was an event. They had very high risers, and back a little bit, so he'd walk around behind the risers and right across the front of the stage to the podium, remember?
I think basically lables were more interested in a Richard Page record than a Mr. Mister record.
There was no real fringe theatre in London until way after the war, so either a play was done secretly with a club licence or it was done openly and had to be assessed along with everything else.