A Quote by Ann Reinking

Chorus Line' opened things up a bit. Any show that's successful does that. But 'Chorus Line' was about dancers. — © Ann Reinking
Chorus Line' opened things up a bit. Any show that's successful does that. But 'Chorus Line' was about dancers.
I just start playing music and eventually I sing something, a line of a verse or a B section or a line of a chorus, and the line that I end up singing is related to the music I'm playing, if that makes any sense. And I go from there.
One of my main problems with music is that the basic formula is always the same: verse, chorus, verse, chorus, bridge, verse, chorus, chorus, chorus, end. One of the bands that changed that was The Beatles. If you listen to 'Everybody's Got Something to Hide Except Me and My Monkey.' It's three verses, bridge, end.
Normally you'll have a structure to a song. You'll have an intro to a verse to a pre-chorus to a chorus, kinda repeat that, maybe there's a bridge, then you'll go out on a chorus - that's the quintessential song structure - sometimes you might do a fake-out, re-do a pre-chorus but the chorus doesn't come until later, but for the most part you follow these tried and true structures.
Americans enjoy uniformity in a way that the British don't; they wanted everybody of a sort of nice chorus line height and here I was, this person who was a good three inches taller than anyone else on the end of the line.
Seeing the road show of 'A Chorus Line' in 1977 at the Orpheum Theater in downtown Memphis was a life-changing event for me: there were gay people, on the stage, and they all lived in New York.
The pre-chorus always flows and the chorus is always a little bit harder for me because I put pressure on myself. I didn't know that there was a proper way to do these things, so I just write what sounds good to me in my ears and then I hope to God that someone else likes it too.
I can't shoot myself in the foot before I get in the chorus line.
I watched 'A Chorus Line' over and over when I was growing up, to the point that I was able to recite the entire movie.
We didn't want to worry about the formula that has been implanted into our brains - this verse/pre-chorus/chorus format. When we were writing 'The Papercut Chronicles,' we had no idea about any of that. We didn't know how to count bars or how to write what's considered a well-formatted pop song.
I almost gave up on 'Door' so many times. I couldn't crack it. It started out as a simple song with just a chorus-verse-chorus. I felt like it needed to transform more.
Well, I tell you... the first chorus, I plays the melody. The second chorus, I plays the melody round the melody, and the third chorus, I routines.
When the Beatles wrote 'Paperback Writer,' it couldn't have been the same old thing. You can hear so many influences in it, from the blues to Bach, and it's not just verse, chorus, verse, chorus, bridge chorus. They start off singing a cappella, almost like a Bach chorale, and the song goes into this bluesy guitar riff.
I'd much rather fail than do something like 'The Chorus Line' movie, sanitized and Hollywoodized.
The world is not checking in with us to see what skills we've picked up, what idea we've concocted, what dreams we carry in our hearts. When a job opens, whether it's in the chorus line or on the assembly line, it goes to the person standing there. It goes to the eager beaver the boss sees when he looks up from his work: the pint-sized kid standing at the basketball court on the playground waiting for one of the older boys to head home. "Hey, kid, wanna play?"
'A Chorus Line' never dies; it just keeps opening doors and giving back to me - but there was a time when I considered it an albatross around my neck.
In '75, the year both A Chorus Line and Chicago hit Broadway, my head spun around and I became the ultimate theater queen for life.
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