A Quote by Annaleigh Ashford

That's one of the beauties of James Lapine and Stephen Sondheim and their work together. They have such a depth to the emotional exploration of the story that they're telling, but there's always a release, and the release is a laugh.
To my mind, 'Dear Brutus' stands halfway between Shakespeare's 'A Midsummer Night's Dream' and Stephen Sondheim and James Lapine's 'Into the Woods'. Like them, it is a play about enchantment and disillusion, dreams and reality.
I like songs that you can have both the physical release and an emotional release.
Emotional release by itself, no matter how "real," "honest," etc. the emotion may be, is never enough to create a character...such release has no artistic form.
You are not a helpless victim of your own thoughts, but rather a master of your mind. What do you need to let go of? Take a deep breath, relax, and say to yourself, 'I am willing to let go. I release. I let go. I release all tension. I release all fear. I release all anger. I release all guilt. I release all sadness. I let go of all old limitations. I let go, and I am at peace. I am at peace with myself. I am at peace with the process of life. I am safe.'
The wind is a natural way to loosen and release dead leaves and branches, just as emotional and life-situation storms are opportunities for humans to release 'deadwood' and anything needing to be swept away.
I am writing better Stephen Sondheim songs than even Stephen Sondheim is writing.
A good joke provides tension, and then, release of that tension. You build the tension by saying things that are controversial. The release is the laugh. The bigger the surprise or insight in your joke, the bigger the laugh.
The greatest communicators have unknowingly used a story pattern. They not only use anecdotes effectively, but their communication followed a persuasive story pattern of tension and release. That tension and release is created by contrasting [what is] with what could be as a structural device.
What a great unifier getting scared is. Not in an actual threatening, real-world way, but getting scared from horror movies or haunted houses or ghost stories. You laugh because it's a release. People laugh when they're nervous. I laugh so much at a haunted house. It's out of fear, but it's also a wonderful release. Getting scared like that, you feel good, and you feel exhilarated afterwards.
The thing about Stephen Schwartz is that, while it may be difficult to learn - it's a little bit like[Stephen] Sondheim; Sondheim is quite difficult to learn - but, once you have it in you: it never leaves you. It becomes some of your favorite music; it really does.
I believe in tension and release, in that if you stay in the the same tone and mode and intensity for too long, it actually becomes monotonous. When you change up your pace or your humour level, then the release is welcome... I believe that's my biggest job: tone control, and maintaining enough unity so that it all feels like one movie and all the scenes belong together, and yet diversity so that emotional and narrative interest is maintained.
We've ordered a crackdown on sanctuary cities that refuse to comply with federal law and that harbor criminal aliens and we've ordered an end to the policy of catch and release on the border, no more release. No matter who you are, release.
The desire for perfect release and the real-world impossibility of perfect, whenever-you-want-it release had together produced a tension they could no longer stand.
Even when you're producing difficult material and you get emotional, after it you feel good; you feel like you've done a good job, or had an emotional release. I've always enjoyed that, but you go home and think, that was a good day's work, and you move on.
It's a good time to be here in America. You feel that people just want to be together and release the pressure and laugh.
I think Bill Finn's one of the geniuses of theatre, and James Lapine's one of the diamonds of my generation. The two together are a joy!
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