Quotes of All Topics . Occasions . Authors
I just wanted to go to New York and be on Broadway, but then I was accepted by Juilliard, where they trained me in classical voice. It was great in the end, but at the time, I thought, 'What am I doing here? This is not my path.' But it was absolutely my path and where I was meant to be.
In the seventies when I was struggling, I ate the same thing every day at Big Nick's Burger Joint on Broadway and 77th Street. A cottage-cheese omelette with tomatoes, French fries, rye toast, orange juice, and coffee. It was consistently the most satisfying meal I could possibly imagine.
Broadway has changed tremendously from the early days when the shows were referred to as musical comedies. Musical Theater is now a more expanded art form. Back then, singer/actors were not the norm. From the 60's to now, it is necessary to do it all to be a consummate Broadway performer.
In high school, I was doing my magazine 'Rookie' and a lot of writing, and I became a little less interested in the fashion world. I was approached by an agent for writing, and I said I wanted to act as well. They sent me scripts, and then I got my first Broadway play, 'This Is Our Youth'.
I would love to do a talk show. Naturally, I would love to do more films. I'd love to be able to see casting directors more willing to put in a character who happens to be deaf. I'm not talking about doing deaf storylines, but putting in deaf characters. I'd love to be able to do Broadway.
There was a week where I was depressed with the rain, and people were telling me to get a light box. But I live on the 14th floor of an apartment complex, and I see the Broadway Bridge and Mount Hood, and it keeps me such company. And like true Oregonians, I don't carry an umbrella anymore.
You could drive a rental car until you don't want it. Just get out of it while it's moving and just walk away. No, I don't feel like being in that car any longer. Just call Hertz. Hi, your car is drifting into the intersection of 28th and Broadway, if you're interested. It's now your problem.
And I don't consider Broadway the acropolis of theatrical art. I mean Broadway is commercial - that's what it is. It's expensive seats and a lot of them that have to be filled every night. Off-Broadway and Off-Off Broadway, as far as I'm concerned, is in New York the pride of New York theater.
Theater in New York is nearer to the street. In London, you have to go deep into the building, usually, to reach the place where theater happens. On Broadway, only the fire doors separate you from the sidewalk, and you're lucky if the sound of a police car doesn't rip the envelope twice a night.
I've been in leadership roles on Broadway, and it's one thing to lead a Broadway company - you're with those people for a year straight, and you're doing that same show, eight shows a week. It's quite another when you carry on the story... You go beyond that, and you ride the wave of a character.
I took a trip to D.C. before the Off Broadway production started, and one of the things that was really telling is that Hamilton has probably the smallest statue in all of the Mall area, and yet he's got the greatest monument of any of them because we're all walking around with him in our pockets.
From 1985 to 1994, I lived in Manhattan in a big old loft right off Times Square. I could walk to work, which was in a couple of Broadway theaters, to Howard Stern's studio, and to 30 Rock for 'Letterman' and 'SNL.' Even in New York, walking to work is homey and folksy, like living in a small town.
The Depression was remarkable because you had nothing, and the salaries, when you got a job, were very small. But you could do anything. You see, a donut was ten cents. A cup of coffee was a nickel. That was lunch, with an apple. And I would be playing a lead on a Broadway show on that kind of diet.
I got to Broadway a year after I came to New York. I starred in 'Butterflies Are Free' and got a Tony for it. Right out of the gate. Maybe that's why I wasn't very gracious about it. I wasn't driven. And right after 'Butterflies Are Free', I got married and then started a family. I always wanted that.
I have always wanted to do Broadway, my whole life, but I never knew I'd actually make it - it's a dream; it's never been in the realm of possibility. So to be doing 'Hello Dolly!,' it's not just Broadway, but it's the most joyful, sort of classic Broadway experience with the most extraordinary company.
My father's Alfred Newman - born in 1900, child prodigy at the piano, ended up in pit orchestras in the teens. I think he's one of the youngest conductors to conduct Broadway and worked with George Gershwin and Jerome Kern and Cole Porter - went out with Irvin Berlin in 1930 to Hollywood and never left.
Professional wrestling... is no different than a Broadway play except that in a Broadway play, actors are using dialogue to tell a story and establish their characters, while in WWE, they're using a physical dialogue to tell their story and build their characters. That's a very unique art; it really is.
I would absolutely love to do a revival of 'Bury the Dead' by Irwin Shaw on Broadway, but it would have to be Joe Calarco's version that we did Off-Broadway at The Transport Group in 2008. It was just one of those amazing shows that didn't run long enough and not nearly enough people got a chance to see.
I started traveling by myself as early as 5 to see my dad. I'd go to Toronto or Los Angeles, depending on what show he was doing, but most often New York, and we would hang out, and he'd take me to museums and Broadway plays. The ones that had the biggest impact on me were the George C. Wolfe productions.
I found an agent midway through my year-long run at 'Grease' and just started to audition. I fortunately booked 'South Pacific' six months after 'Grease' was over, and I feel like that was a huge turning point in legitimizing myself in the Broadway community, and getting to do that was absolutely amazing.
I feel like I've been dealing with that building over the years because of the Broadway community, so I'm treating it in the same way - I've always tried to keep my personal life private. I didn't get into this business for notoriety or fame. I don't go to places to be seen and that's not going to change.
As a woman of color, slowly and with some coercing, the not-for-profit theaters around the country are beginning to recognize and embrace the power of our stories, but with regards to Broadway and other commercial venues, we remain very much marginalized and excluded from that larger creative conversation.
There is one thing I should say, and it's important: Young Broadway singers and anybody who is an orator of any kind - lawyers who have to speak in court or pastors or anyone who has a lot of stress on their vocal cords: You should do the maintenance. You should do whatever it takes to feel fresh and good.
I'll tell you what I think in general about people who want to make their Broadway debut that are not trained stage actors. Don't they know, Broadway ain't for sissies? It is a tough gig. You are responsible, physically, mentally, emotionally, for eight shows a week, at the top of your game. It's not easy.
I've worked with a lot of gay and lesbian organizations. I sit on the board of the Empire State Pride Agenda. I've also done a lot of work for Broadway Care/Equity Fights AIDS. I think it's important because, when we can be of service to others, it only enhances our lives. I've been helped a lot in my life.
I was in California, and I was going to UCLA, and I knew I certainly didn't have movie star looks. I remember seeing pictures and photos of Ethel Merman and Mary Martin, who were kind of average looking. I said, 'Well, that's for me, then, to go back to New York and try to be in musical comedy on Broadway.'
I could see no position to say, 'I'm going to make a living as a writer.' But I went to classes for it; I read every play in 'Theater' magazine. I saw the second acts of everything on Broadway - I had a job as a CBS usher in New York City, and on my way home every night, I'd see what shows I could get into.
'Grease' was my Broadway debut. That was eye-opening. At the same time, it was very familiar. It was a Broadway show, but it's kind of the same as doing a show in Minnesota. It's the same type of rehearsal process. You are doing 8 shows a week, but I worked at a theatre in Minnesota that did 11 shows a week.
My daughter just graduated college and she's a dance major. She's done a couple of dance videos already and won Miss Massachusetts a couple of weeks ago. She's going out for Miss United States the second week of July, out in Las Vegas. She will probably wind up going to New York and trying the Broadway thing.
It's glamorous when a movie is released, but then you feel disconnected from it. Someone asked if it wouldn't be more glamorous for me being on Broadway rather than Off Broadway, but I thought, 'What's the difference?' The Orpheum is a smaller house, that's all. And there are no mikes, so you just talk louder.
When we were bringing 'Raisin' onto Broadway, our first stop was at Arena in D.C. Several things struck me about being in D.C.: One was the enormous poverty around the capital at that time - it was 1973, '74 - and I was stunned by people literally living in poverty, with holes in their houses and other things.
What's interesting was with all the shows I did on Broadway, I was either the dance captain or the assistant choreographer - I sort of worked my way up to that kind of thing - and I always was interested in more than just the dancers and the numbers. I would always sneak into the room and watch the scene work.
I used to live in the Bronx, then I lived uptown on 106th St. and Broadway, and finally I moved to Harlem right before it became gentrified. I lived on 120th St. between Fifth and Lenox Aves. in a little brownstone. I knew the neighborhood was changing when they started putting trees in the middle of the block.
My first job was on Broadway. Then I went into the Navy. When I came out of the Navy, I went back to Broadway and a friend of mine, Lauren Bacall, was in Hollywood filming with Humphrey Bogart. She told one of her producers I was great in my play, and he saw it and cast me in 'The Strange Love of Martha Ivers'.
I suppose a certain degree of adulthood has entered my life. Aiming for Broadway, I can't think that way any more. Of course, Broadway will always be important. But it's not the focus of everything that you do. You know, I'm very happy I was born when I was, so I got there in time. When it was time to get there.
My parents were really, really cool about supporting what I wanted to do at a really young age. I think I was about 10 when I caught the bug. They would drive me down to New York if there were auditions. When I was 12, I did this show on Broadway called 'High Society,' so we moved to New York for the run of that.
The Beatles have a deeper appreciation of all music. There's a humor, there's a Broadway sense, and later on, the Indian stuff came in. The Beatles were always taking in stuff and filtering stuff out to us. There's such a classical sense of arrangement, and their harmonies-what the Beatles did vocally is amazing.
I don't stop. It's my nature. People have to tell me to slow down. I plan on playing every role on Broadway. I want to do 'Evita.' I want to do 'Sweeney Todd' with Chris Colfer. We want to do 'Wicked.' I'll be Elphaba and he wants to play 'Guy-linda.' I want to do movies, make music. 'Glee' is only the beginning.
When I did 'Thoroughly Modern Millie,' it was almost every 'first' I could have imagined: I dreamt someday being on Broadway, and then dreamt someday playing a lead on Broadway, and then dreamt someday of getting to originate a role, and then getting a Tony nomination. It all happened at once. I was just terrified.
I was the illegitimate child of the legitimate theater. I had no training. I came from downtown rock and roll, and when I came in and auditioned for the Broadway revival of 'Hair,' I had no eyebrows - kind of a Bowie-esque glimmer kid. And it was hard representing the flower power era when we were stone cold punks.
When I was 20 years old, my mom flew me for my first Broadway audition for 'The Color Purple,' and I only found out about it because I knew that Fantasia was in it, and so I went online to ActorsEquity.com. I was not a part of the union, but I flew there for the audition, and the next week I made my Broadway debut!
What I like about Broadway is that you are still entertaining. You're standing in front of an audience every night and the critics are not friends at all - and that's good for me as an entertainer because I want to grow. It also gives me the structure of remaining in one city so I can get creative in different ways.
Broadway is another monster. I've been touring since I was 12 years old and I love being on the road - one day you're here, next day it's snowing, and the next you are in a desert and it's 110 degrees. So I guess I'm kind of used to the madness physically that you go to when you are an entertainer. But it's been great.
That experience with 'Rent' went by so fast. I was younger. I didn't even really know what opening night was. And now I'm thinking back on the times I went to Broadway as a kid and the excitement I felt... And I'm realizing that I'm actually a part of that, so I'm learning to take it in, 'cause so often I shrug it away.
There's just nothing funnier or crazier than that - doing your Broadway debut as Spider-Man in 'Spider-Man' the musical. It was, like, the last thing I could have ever possibly imagined happening. I mean, I would tell people I was playing Spider-Man, and people would just break out laughing because it was so ridiculous!
Sometimes I feel like 'Avenue Q' or even 'Book of Mormon' might not have happened without 'Urinetown.' 'Urinetown' sort of paved the way, just in terms of what Broadway would accept in its houses. It just blows my mind, the stuff 'Book of Mormon' gets away with. It's way farther across the line than 'Urinetown' ever was.
When I was prepping for my Broadway debut as Romeo, it really hit me that I had never done that. I had trained at drama school for three years in my late teens to early 20s, and I'd studied Shakespeare, of course, but I hadn't actually performed it. So to do something like Romeo for my first Broadway role was a challenge.
When I had a record deal in the '90s, that was my dream - to make an album like Barbra Streisand's Broadway album - and they laughed me out of the room. Broadway wasn't cool. But artists like Michael Buble and Josh Groban have brought the classic genre back to the forefront, so I'm trying to find my way inside that market.
I loved being on Broadway, but performing has become exhausting, and I just don't want to live in New York anymore. I'm just sick of the competition in New York, the feeling that I always have to rehearse to keep up my performance. I don't feel like rehearsing, even though it should be my favorite thing in the world to do.
My interest in acting came from seeing Broadway shows on summer trips to New York as a child. It was the original production of 'A Chorus Line' in an easy tie with the first 10 -15 minutes of Dustin Hoffman in 'Tootsie' that hooked me on the romantic idea that the impossible, difficult life of a struggling actor was for me.