A Quote by Ana Gasteyer

It's so easy in these cabaret venues to get earnest. — © Ana Gasteyer
It's so easy in these cabaret venues to get earnest.
The great reason why we have so little good preaching is that we have so little piety. To be eloquent one must be in earnest; he must not only act as if he were in earnest, or try to be in earnest, but be in earnest.
Life is a cabaret, old chum! Come to the Cabaret.
I sent a lot of the e-mails out to venues and tried to get shows and tried to get people interested in it. It can be a tough thing, because you know these people at venues are getting e-mails like that every day, but I think just my experience in working in running a radio station.
I've always been a cabaret-vaudeville artist - an hourlong cabaret and a floor show in a hotel - somebody like that. That's my main forte.
I think that's the graveyard of musicians, playing cabaret. I think I'd rather be dead than work in cabaret. It's just so depressing.
What good is sitting alone in your room? Come hear the music play; Life is a cabaret, old chum, Come to the cabaret.
As far as dream venues, I've played all the venues I'd love to play.
I played piano for cabaret stars and stuff and then eventually moved from my hometown of Perth in Western Australia to Melbourne, and somewhere in there, I decided to book myself a room and do a cabaret show of my own material.
I was writing an earnest novel about cruises in the Caribbean and I just started writing 'Bridget Jones' to get some money, to finance this earnest work, and then I chucked it out.
There's something about small venues that's amazing for developing material. It's almost like you can not only hear people's response, but you can understand it. In bigger venues you lose that, but you gain this sense of camaraderie in the audience.
I have a great interest in Victorian musical & cabaret performances and Weimar artists so the references are there, to Cabaret and also All That Jazz and other films where, where there's a kind of (influential German playwright Bertolt) Brecht-ian approach, almost to the character standing outside of himself or, in this case, he's "self-séance-ing."
Drugs are so easy to get in the ghetto. They might not be easy to get in nice areas like Beverly Hills, but in Long Beach and Compton and South Central they're easy to get.
Back in the early 1980s when rappers couldn't perform in the fancy venues because the police were too racist and scared, it was the punk venues letting them in to perform.
In L.A., we played rock venues because we had a band, which hip-hop venues couldn't accommodate. And within that, we created a show which we could put on in front of anybody.
Americans are opting out of public venues like the playground and the sidewalk for private venues like the healthclub and the mall. We're living our lives inside one form of corporation or another.
A cabaret song has got to be written - for the middle voice, ideally - because you've got to hear the wit of the words. And a cabaret song gives the singer room to act, more even than an opera singer.
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