A young Brit girl with no theatre experience decided to take on an iconic American role on Broadway. Maybe I should have thought that through?
I remember telling the agent, 'I don't want to do anything but Broadway.' She was like, 'That's not really possible because there is not that much Broadway. So I'll send you out on TV and stuff like that.'
People sometimes forget how important # Broadway is as a place for young actors to grow.
If you don't go to Broadway, you're a fool. On Broadway, off Broadway, above Broadway, below Broadway, go! Don't tell me there isn't something wonderful playing. If I'm home in New York at night, I'm either at a Broadway or an Off Broadway show. We're in the theater capital of the world, and if you don't get it, you're an idiot.
Regarding the current Broadway revival of The Music Man, Jay Nordlinger wrote: There will always be those who sniff that the show is "feel good"-but, oh, it feels good to feel good. And the main reason The Music Man feels so good is that it is good-a great American musical.
I'm definitely nervous and excited. I feel like I've been playing off-Broadway, not to say that Boston doesn't have a great theatre district or great theatre, but it's not going to Broadway; it's just a different city.
Broadway is a definite symbol of New York. It's classic New York.
I had the greatest time on Broadway and made friends I never expected to make!
Live theater is my favorite of all the mediums that I have worked in, so I have every intention on coming back to Broadway.
A lot of people now don't know I've been on Broadway.
I've had albums out since the 1970s. I was in a musical, 'The Boy Friend,' directed by Ken Russell, and I was on Broadway in 'My One And Only' with Tommy Tune, so I've always been a singer, but I suppose people think of my modelling more.
[VIA DOLOROSA]'s pushing Broadway as far as it can be pushed. I stand before you as a reporter, and you have to decide whether I'm an honest reporter or not. And if you're convinced that I am honest, then I think that you will listen to me in a way that you wouldn't have listened to a fiction where scenes are made. . . . I've thought quite long and hard about what I want to say in this play. And if it means that every single sentiment that I produce is put minutely under an ideological microscope, that's fine.
A play gets on Broadway by fluke. And you don't even start out with that ambition. When I do a play, the intention is just to put it up somewhere.
Broadway remains the closest thing we have to a national theatre, the place where the greatest number of people can potentially see new work. For an American playwright to say it doesn't matter is simply to capitulate to the current situation.
We have a desperate need for producers in the [commercial Broadway] theatre, and it is very hard for them to get money and find investors for new plays.
Mary Martin was Broadway's biggest closet king. Everyone thought Ethel (Merman) was butch and maybe a lesbian, but she wasn't. And everyone thought that lovely little Mary was Miss Femme, and she was -- except next to her gay husband. In other words, don't judge a star by her cover.
It's nowhere near as intense as what I imagine an actor experiences backstage, but I feel a fluttering nervousness before a curtain goes up on a play. I mean, any play, anywhere - on Broadway or the Bowery or in a church basement.
I came from somewhat of a musical family. I had an uncle on Broadway. My dad kind of knows how to play instruments. Although, I always find it annoying when he does play an instrument.
Broadway has the most savvy audience anywhere. They see everything and they know their theater. As sophisticated and subtle as you think you can be, the houses you get here will want something finer.
When I talk to young people who want to go to Broadway or whatever, I say, "The highs are very high and the lows are very low and then there is a lot in between."
All my roots are Broadway. I got my Equity Card doing a Broadway show, and my first love is theater.
New York was the glamorous town that you only see now in old movies and on Broadway stages. The sky was lit up with dancing neon signs. It was safe to walk out in the streets.
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.
When we got off the streetcar at Times Square, it was somewhat of a letdown. Newspapers were blowing about the road and pavement, and Broadway looked seedy, like a slovenly woman just out of bed.
I was in Jacques Brel Off-Broadway for many years, so I've always been a singing actress, but the songwriting was a complete surprise. I had never written a song in my life. We were on the road with Jacques Brel doing the national tour, and I picked up a guitar one day and I wrote a song.
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