Maria Friedman

No, he'd always taught character and story, and that's what drove him to write in the rhythms that he did for different people.

It's a very, very good question, by the way, that you notice that it's quite spiky.

And it becomes more rhapsodic and luscious as we walk backwards towards the hope.

And there was a point where they really have a row.

And finally, an argument, I think you call it.

I call it a row in England.

And the syncopation is about the edginess of the way they feel.

It's not just there as a kind of add-on.

It's driven by the narrative.

Well, I never knew what their diagnosis was, what they put in this show.

So they didn't discuss that with me.

I'll tell you one thing they were absolutely adamant about is that we didn't ever refer back to the old version, that this was the version they wanted done.

They themselves had rejected the old version that they had written, which was deeply painful for them, but they were starting afresh.

A couple of people have

taken bits from the old one, that was just an absolute no-go with Steve.

He did not want his other version ever done again.

Well, I was in the auditorium.

I can't tell you how much I miss Steve that night.

Because for me, this has been a love letter to him from day one.

Not that he wanted the love letter, may I say.