Sarah's Quotes

On Pans People

“I replaced Cherry Gilespie and the ironic thing was that I only went along to the audition in order to provide some morel support for my friend. I had no idea that I would walk out a Pan’s Person."

 from SUPERPOP 14 APRIL 1979

I was asked by a friend to go along to an audition for Pan’s People.   Not for me, you understand... but for her, because she was a bit  nervous of arriving there alone. Well, they found out I was a dancer too and roped me in for an audition with the embarrassing result that I was offered the job.”

Disco Fan 4 September 1979 No. 4

On Hot Gossip

The training was much more severe in Hot Gossip. Everything had to be so exact because the choreographer* was such a perfectionist. It’s awful, I think if you do something and it doesn’t look quite right.” (*Arlene Phillips)                      from FAB 2nd June 1979 - Debbie Hawes

On Kenny Everett

Oh, he was mad ... mad as a hatter.  He’s a sweet guy, but he really is—well, zany! He doesn’t really use a script. He just comes out and they film it all the,. I time while he’s walking around and saying silly things. Then they just take bits out of it. It’s all natural, you know, when he bursts into laughter and can’t go on.”                                       FAB 2nd June 1979 - Debbie Hawes

On Beauty Routines

1. "The biggest asset any girl can have is her figure.  lf you stay slim you're half-way to looking glamorous no matter what the rest of you is like. With the kind of costumes I wear, I can't gain a few ounces let alone pounds!"

2. "No matter how tired you are, you've got to cleanse your skin at the end of the day. When I was with Hot Gossip we always stuck to our beauty routines. Those bright TV lights show every flaw!"

3. "Always keep your hair clean. If it needs washing every day that's bad luck, but you should do it."

4. "Without a doubt the best way to keep a body beautiful is to dance. I've danced all my life, it's fantastic exercise and it's fun. Don't wait for someone to ask you to dance, just do it!"

From:- Mates June 16th 1979

On Singing & Dancing

I started at the age of three at proper dancing school and had up to about six lessons a  week. I went on to go to three stage schools, a which is where I did my training. After I started dancing I decided that was what I wanted to do.’ Then at the age of nine l realised I could sing. I always knew inside me: that I could sing, but no  one took much notice at home. They thought I had a nice voice and that. was that. But at stage:  school there was a singing master who saw my potential and brought it out through singing lessons.”                                     FAB 2nd June 1979 - Debbie Hawes

On Flying

I love aeroplanes. I’m crazy about them and grab every chance I get to go up in one. Just as soon as I can find the time I intend to take flying lessons with the hopes that I’ll ultimately be able to get a private pilot’s license.”                                                 Disco Fan 4 September 1979 No. 4

On being an entertainer

"I’m in the business of entertaining and that’s what I intend to do."

Disco Fan 4 September 1979 No. 4

A dancer's life is a short one, but I hope to be around for a long time as a singer.  

Titbits No. 4837 Dec 14-20 1979

On Being a Singer

"When I was very young I wanted to be a ballet dancer, then I bought a Joan Sutherland record and enjoyed singing along with it. Yes, I’ve always been ambitious and knew then that singing would be my life."                                                                     You Mail on Sunday Magazine 23 March 1986

On her music being categorised

I hate to categorise myself, I love pop and love having a pop record in the charts although my pop records are of a rather serious nature. When Andrew said he wanted to release “Pie Jesu” as a single, it didn’t surprise me. Music is music and if people like the sound of it, they’ll go out and buy it. With The Phantom of the Opera will probably sign a short-term contract initially and then we’ll have to see. I want to continue training, but doing six shows a week will inhibit that. One can go on getting experience by working but I am very young at the moment and I want go on learning and learning.’

You Mail on Sunday Magazine 23 March 1986

On Money and Earnings

I may be married to a rich man (ALW) and I may earn good money, but it is not vast - just something that keeps you going. I never think about money and never did. I did The Merry Widow for the £80-a-week Equity rate.’                       You Mail on Sunday Magazine 23 March 1986

On having children

I would love to have children, but I feel too much of a child myself right now, I am not ready to have a child — I have so much more to learn. My thinking is that when I am in my 30s will be the right time to have children.’                                   You Mail on Sunday Magazine 23 March 1986

On Playing Christine in Phantom of the Opera

I identify totally with Christine, and that’s why it’s been so wonderful to play the part. She is myself and I am in her.                             European Travel & Life January / February 1988

On living and working with Andrew Lloyd Webber

I think it is just because we’re both total perfectionists and therefore very understanding of each others needs to concentrate, to get on, use our talents. Maybe that’s we’re good for each other because we both have that urge to succeed and do as much in our lives possible with the gifts we’ve given. I’m not saying it’s always because I do have a habit of locking myself away for days before a performance.  I can’t be distracted. It’s as though I’m in another world and everyone says I’m quite trance like.Hello! 13 May 1989

Music is one of the most important factors in both our lives. It’s what makes us both tick. Apart from love in a relationship I think there has to be another interest — be it family life, or a business, that makes it work. And music is ours.  Hello! 13 May 1989

On her album The Songs That Got Away

The idea — which involved lots of research and help from composers on both sides of the Atlantic — grew out of an Andrew Lloyd Webber musical evening at the Barbican in which I included a song — Half A Moment — from his flop musical Jeeves. The audience — who’d never heard it — just went mad and I thought, well there must be many other great composers whose songs from failed musicals have been forgotten. We found about 100 songs, and it’s been great for me and a nice challenge for The Voice to work in varied styles.  Hello! 13 May 1989