A Quote by Aaron Lazar

On the PBS recording of 'The Light in the Piazza' backstage, you get to see me doing some sweet lunges down the hallway of the Vivian Beaumont. — © Aaron Lazar
On the PBS recording of 'The Light in the Piazza' backstage, you get to see me doing some sweet lunges down the hallway of the Vivian Beaumont.
I can draw pencil lines to show something is moving, but if I'm writing, I struggle with how to write it. The boy ran down the hallway? The boy ran quickly down the hallway? The boy ran down the marble hallway? I agonize over the words. So my editor works very hard. I'm lucky to have her.
For a production that suggests a mysterious dreamscape, I have a particular affection for the Vivian Beaumont Theater. It is the largest dramatic space available in New York City in terms of plays, although musicals have been done there very successfully as well.
A piazza is not a plaza. The plaza is the theme park of the piazza; the plaza is the commercial version. A piazza is an empty space with no function. This is what Europeans understand.
When I was doing 'In the Heights,' I was the co-music supervisor for 'The Electric Company' on PBS, so I was writing songs all day, doing the show, staying up until 3 A. M. Writing more songs, recording demos in the intermission in my dressing room.
I used it in a shot where Richard Burton goes down the hall to get a gun in a closet. And I wanted to get some excitement, and the hallway was too narrow for the dollies that they had at that time. So it was quite useful.
When I'm in the grocery store, I'll do lunges up and down the aisles. In the checkout line, you could do squats. I used to worry about what people thought of me, but I don't care anymore. I know I'm going to get the last laugh.
If it looks like a hallway, feels like a hallway, and acts like a hallway—is it important to figure out that it isn’t a hallway?
NSD gave me the vision to see further and they exposed me to integrated works, right from working on the backstage to even doing the costumes.
When I was 21, I did not have that much pressure. I was sitting down on the bench... you know... cleaning Sir Vivian Richards's boots or doing something... getting ready to play international cricket.
I really enjoy 'The Beauty Is' from 'Light in the Piazza.'
I was in Australia in about 1996 when I played some acoustic guitar for some guys at a studio down there. They were pretty happy with it, and mentioned doing an album, so about a year later I met some people who were interested in recording.
'The Light in the Piazza' is one of my top three musicals of all time.
I'd been doing some light-beer commercials for Budweiser and Coors, and I was doing stand-up comedy. I wanted to get into the acting world, and my agent sent me on audition and they liked it.
Writing's funny, it's like walking down a hall in the dark looking for the light switch, and suddenly you find it, flip it on, and then you discover the hallway you passed through is papered with the novel you've written.
I get the Martian look all the time even in the hood. I walk down to the shopping block and people just look at me with their mouth open man like what are you doing out here and I'm like I'm trying to get a pair of sneakers duke what's good? What are you doing [and I'm like] I'm hungry I wanted some juice and I needed some bread.
I exist. It's sweet, so sweet, so slow. And light: you'd think it floated all by itself. It stirs. It brushes by me, melts and vanishes. Gently, gently. There is bubbling water in my mouth. I swallow. It slides down my throat, it caresses me — and now it comes up again into my mouth. For ever I shall have a little pool of whitish water in my mouth - lying low - grazing my tongue. And this pool is still me. And the tongue. And the throat is me.
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