A Quote by Allison Williams

I'm an obsessive musical theatre person, so some of the most formative albums for me were, you know, the 'Phantom Of The Opera' soundtrack or 'Into The Woods.' — © Allison Williams
I'm an obsessive musical theatre person, so some of the most formative albums for me were, you know, the 'Phantom Of The Opera' soundtrack or 'Into The Woods.'
My embarrassing confession is that my father is a 'Camelot: The Musical' obsessive. So as a child, when we were going to visit relatives on the weekend, whenever we were driving back on these three-hour drives, he would be playing the musical soundtrack on repeat, on the cassette in our car, to the extent that we begged him never to play it again.
Opera is musical theatre, and the music can teach you so much about the theatre. Very often I use musical terms to think about how I comport myself on stage: I employ 'rubati,' 'ostinati,' 'cadenze.' Finding these parallels is very fascinating for me.
Robert Duvall taught me years ago. He said, "You know theatre is not real. I don't like plays." You know, he doesn't like plays. And I agree with him in certain ways, you know. They can be fun. I don't mind going to see them. I went and saw Phantom of the Opera. I thought hey, that's cool. Look at the mask and all that.
I'm still wondering about the Phantom in the chair, you know at the end of Phantom [of the Opera], so I guess that's my sort of idiocy. I still haven't figured out how they do that.
We tend to forget that in those days before the Internet and HBO and Imax and 3-D cinema, opera was the thing. Opera and theatre. If you were a man of the world and you mingled among the happy few, you would be at the opera.
The roughest make-up I ever wore was for 'Phantom of the Opera' because the phantom's face was all disfigured, and he's trying to pass in public so he can attend his beloved opera. That was make-up over make-up.
I've always loved musical theatre. I've always been a big kind of closeted musical theatre nerd. I really have always dreamed about being able to do musical theatre.
Even when I rehearse down in the bowels of the Metropolitan Opera, you can't help but think why The Phantom of the Opera was inspired by what happens in the bowels of the opera house.
My desire was never to put out albums; it was to do musical theatre!
I've always loved opera; it never occurred to me that I would write a proper libretto. One of my closest friends is a composer, Paul Moravec, and a few years ago, Paul and I were at lunch, and I said to him, "you really have to write an opera." So, he says very casually to me, "I'll do it if you write the libretto." Well, little did I know that the within a couple of years we would end up getting a commission from the Santa Fe Opera to write an opera together, "The Letter," which turned out to be the most successful commissioned opera in the history of the Santa Fe Opera.
The only thing that really inspired me for singing was the movie and musical 'Phantom of the Opera.' I went to see it in the theaters, and I loved it so much. And when I got home, I started singing the songs around the house, and my mom thought I was really good, so she asked me if I wanted to do a talent competition. And I said, 'Yes, definitely.'
I used to know all the lyrics to all the songs from 'The Phantom of the Opera.'
I was interested in opera and it seemed to me that the only possible theatre for contemporary opera would be television. So I started working towards a kind of television kind of opera.
What I can't tell is, I don't know if there's a subliminal resistance to the idea of a sequel to 'The Phantom of the Opera' anyway.
I was playing in the Metropolitan Opera Orchestra as principal horn. I was there for some 15 years - one of the most exciting and great musical periods in my life.
I came to musical theatre from straight acting, and a lot of my friends have a real prejudice about musical theatre - one I probably shared.
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