A Quote by Noma Dumezweni
For me, you could say my big West End debut was 'Cursed Child,' but I'm in my 40s, and it's like, 'When is that beginning?'
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When I got the job on 'Cursed Child,' I was doing another show in the West End, and I was playing a part that Marlon Brando had played.
My dad took me for an audition once, to show me, OK, you want to be a child actor, this is what its like. I sang a folk song about donkeys on this West End stage with this big director, and there was a queue of 200 girls all singing Memory. I was terrible. Terrible.
My dad took me for an audition once, to show me, 'OK, you want to be a child actor, this is what it's like.' I sang a folk song about donkeys on this West End stage with this big director, and there was a queue of 200 girls all singing 'Memory.' I was terrible. Terrible.
To the former child migrants, who came to Australia from a home far away, led to believe this land would be a new beginning, when only to find it was not a beginning, but an end, an end of innocence - we apologise and we are sorry. To the mothers who lost the maternal right to love and care for their child - we apologise, and we are sorry.
I wish I could've been friends with Charlie Parker and played with him. That's my period. I feel real close to the '40s - and actually, I was born in '37, so I was a kid singing on the radio in the '40s. But I always dreamed of going to big cities.
If Broadway was a river running from the top of Manhattan down to the Battery, undulating with traffic and commerce and lights, then the east-west streets were eddies where, leaf-like, one could turn slow circles from the beginning to the ever shall be, world without end.
Every debut is good, I would like to say. You can't necessarily have a bad debut, no matter how you play, results, whatever.
Some say it appears that painting has come to an end. I say the problem is that the painters' curiosity has come to an end, and this is more observable in the West and not in the East, since in the East there are plenty of untouched and unexplored spaces that could still inspire an artist as sources of creativity.
When I come to a new city is I combine: I say, well, it's like Barcelona and Edinburgh, though I can't imagine what that would be. But Toronto, the last few times I've been here, what always comes up is Chicago and West Berlin. It's a big, sprawling city beside a lake, of a certain age and a certain architectural complexity. But the high-end retail core looks more like West Germany than the Magnificent Mile. Yonge Street is like K-Damm. There's an excess of surface marble and bronze: it's Germanic and as pretentious as pretentious can be.
The child must know that he is a miracle, that since the beginning of the world there hasn't been, and until the end of the world there will not be, another child like him.
The end of 'The End' is the best place to begin 'The End', because if you read 'The End' from the beginning of the beginning of 'The End' to the end of the end of 'The End', you will arrive at the end.
We live in this world like a child who enters a room where a clever person is speaking. The child did not hear the beginning of the speech, and he leaves before the end; and there are certain things which he hears but does not understand
I would have conversations with European artists. Meaning, people look at my painting and one person would say, "Oh, your painting is just like so-and-so!" Another person would say, "It's just like so-and-so." But at the end, it's a chain of relay like a marathon. There are so many so-and-so's that eventually it becomes mine. My dialogue was completely European, with the '40s, '50s, '60s artists, but on the exterior side I do big painting. It's post-Pollock. It's current. It's a meeting of the time. The Chinese side just comes out.
For every mother who ever cursed God for her child dead in the road, for every father who ever cursed the man who sent him away from the factory with no job, for every child who was ever born to pain and asked why, this is the answer. Our lives are like these things I build. Sometimes they fall down for a reason, sometimes they fall down for no reason at all.
In his 40s, my dad refound his youth a bit, and started going to the West Indian club in Northampton, where I'm from, where the West Indian diaspora would go to socialise on a Friday night, and have a drink and a dance to soca and the like.
I grew up in the West End, so my whole background was living among theatres and musicals and the West End's coffee bars and clubs. It's kind of obvious that one day I should do something like that.
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