A Quote by August Alsina
Just one night at a show in New York, I literally passed out and fell off the stage.
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And I don't consider Broadway the acropolis of theatrical art. I mean Broadway is commercial - that's what it is. It's expensive seats and a lot of them that have to be filled every night. Off-Broadway and Off-Off Broadway, as far as I'm concerned, is in New York the pride of New York theater.
And I don't consider Broadway the acropolis of theatrical art. I mean Broadway is commercial - that's what it is. It's expensive seats and a lot of them that have to be filled every night. Off-Broadway and off-off Broadway as far as I'm concerned is in New York the pride of New York theater.
There are roughly three New Yorks. There is, first, the New York of the man or woman who was born here, who takes the city for granted and accepts its size and its turbulence as natural and inevitable. Second, there is the New York of the commuter — the city that is devoured by locusts each day and spat out each night. Third, there is the New York of the person who was born somewhere else and came to New York in quest of something.
I grew up in New York, so I fell in love with acting on a stage, not in front of a camera.
The culture of New York is just impossible to replicate. It's such an incredible feeling to be walking on the streets of New York. You can literally find everything you need in a five block radius oftentimes.
The culture of New York is just impossible to replicate. Its such an incredible feeling to be walking on the streets of New York. You can literally find everything you need in a five block radius oftentimes.
I grew up in Connecticut, going in and out of New York City, and I worked in the city in the '90s. I was freelancing for the Associated Press, and I fell in love with New York.
My return to the theater in New York was so specific. I didn't want it to be about leveraging my exposure or my fame, so the first show I did in New York was an ensemble piece at an Off-Broadway theater, and I wanted to make sure that it was just about the play and about the experience.
I have to literally pinch myself every day, like, 'Oh my God, I'm in New York. I live in New York.' It's awesome, just like the energy.
When I moved to New York out of college, that was my goal. To be a stage actress. And to do dramatic works. Like 'Madea', and 'Night, Mother', and 'Sam Shepard', and all that kind of stuff. That's what I really wanted to do.
When I moved to New York out of college, that was my goal. To be a stage actress. And to do dramatic works. Like Madea, and Night, Mother, and Sam Shepard, and all that kind of stuff. Thats what I really wanted to do.
I graduated from high school early so I could move to New York to do 'A Little Night Music' out of the New York City Opera.
I always considered myself a songwriter, but I didn't move to New York with plans of doing that; it just sort of happened. Everyone thinks that I moved to New York strictly to play music, but I totally just happened to fall into playing with Woods, and it all got started from there. I just went to New York to hang out.
We went on stage with the Jefferson Airplane, Jim started singing with Grace Slick and hugging her. Then he danced off the stage, went back into the dressing room and passed out cold.
Believe me, it jabs you. When you're on the side of buses and New York loves you, you love to go out there every night. It's like a race. Curtain opens, out you go, and New York is yours.
I think I can work anywhere, but you don't get the same kind of inspiration everywhere. New York theater has become a big inspiration for me. I only started writing for the stage myself because I like to see the good, mostly off-Broadway plays in New York.
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