A Quote by Antony Hegarty
Every year I used to write a musical inspired by John Waters, and I would get all my friends together and put on this perverse, emotional, tragic musical.
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I would love to do a musical. Put that in the universe! A rom-com musical!
Every disease is a musical problem. Its cure a musical solution. The more rapid and complete the solution, the greater the musical talent of the doctor.
I want to write a play. I'd like to do an original musical. I should probably put together a poetry collection.
Whatever is original in my writing comes from my musical apprenticeship. I look for rhythm in words. I imagine words as if they were musical chords. Often I'll write something, read it, and find it musically unsatisfactory. There is a musical imperative in my choice of words.
I do think musical-theater actors can get a bad rap, and I see why. There is a certain slickness - there's nothing better than an amazing musical, but an okay musical can be one of the worst times you've ever had.
We've had musical stuff in the show [South Park] forever. That's mostly because Trey's a big musical fan, and he's a great songwriter. He's been writing songs his whole life. So since the beginning, we've always put a lot of musical moments.
They had a contest where they would - for some reason, someone in the past loved musical theater, and so if you wrote a musical, they would fully fund it and put it on the main stage with full costumes and a set and everything, and my roommate said we should totally do that.
Vocals are not central to what I do, and I've never liked singing live. I've always been more inspired by rhythm, texture, harmony than vocal melodies and lyrics. Plus, for me, I can better express my musical ideas through instrumental music than vocal music, the emotional interpretation of which can easily supersede the actual musical content or aim.
I used to watch a lot of musicals as a kid. Musical movies, not so much musical theater.
It's such hard work doing a musical. I did my first musical last year, performing in The Producers, and it was a big part to suddenly be doing Leo Bloom in that. It's such hard work. It's a proper slog. It became like clocking in. And it's a big factory - you go in, everyone's got their little plot, people are taking in and out of it if they have days off or holidays, and it's just a jigsaw that all works. It always amazes me that this product would happen every night and it was just all these elements coming together in a big machine.
My own musical background is based in the blues, and in classical composition. I grew up listening to Muddy Waters, John Coltrane, Miles Davis, Beethoven and Bach.
'Supafunkrock' is a musical gumbo. We throw all those musical influences into the pot and put it out there.
I would write songs, inspired by my baby, but then I could tell that my baby was also responding to the music. It was just kind of an amazing musical experience.
I'd do pretty much anything to get back on stage. I'd like to develop a new musical. I nearly had a heart attack when I heard that they're developing John Waters' Cry-Baby because that is so amazing and super and wonderful and I wish that I could be involved. But it's not the right time and I understand that. But I hear things like that and I get that little tingle in my stomach.
While people are fairly young and the musical composition of their lives is still in its opening bars, they can go about writing it together and sharing motifs (the way Tomas and Sabina exchanged the motif of the bowler hat), but if they meet when they are older, like Franz and Sabina, their musical compositions are more or less complete, and every motif, every object, every word means something different to each of them.
I would have never thought to put cello and beatboxing together. But I did, and it was extremely hard work to make it cohesive and musical, but it worked.
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