A Quote by Bob Crane
I had this fantasy. I would be at the Paramount Theater in New York and Louis Prima's drummer falls sick. The theater manager asks, 'Is there a drummer in the house?' I run up on stage and bang instant fame!
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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 wanted to be a theater actress, but I thought it would be easier to get to New York and the theater if I had a name than if I just walked the streets as a little girl from California.
Talking about theater, actually, I built a little barn in upstate New York, and I call it 'the smallest theater in the world,' but it has a mini stage and a red velvet curtain.
I've always wanted to do theater in Chicago. Chicago is a big theater town-and, in some ways, I think this city is savvier and smarter than New York. Sometimes, I think it's a little too chic to go to theater in New York these days.
I'm a theater guy at heart; I love the theater. I was lucky enough to spend a good decade and a half in the New York theater community.
I have to work hard and wear pants. I've worked really hard these last years, and since everything is coming together at the same time, I had to move the play back. I'm kind of in love with my theater agent. I'm a true naïve about the theater, a total innocent. He says to me, have you ever been to a rehearsal room? Do you realize you are opening at the Public in New York? You do understand that the audience will be New York theater people?
When I first set up my big band, I only had Gilson Lavis, the drummer from Squeeze, with me. He was the core element. Whenever a group hits the big time, they always get a new drummer because they really need that. You can make do with rubbish elsewhere.
My mother's whole family had been from the theater, really. Because I grew up in Hollywood, I wasn't that interested in Hollywood. But the New York theater was completely exotic and fabulous to me.
I've always created solo work. When I first came to New York I was working in a few different areas; I was working as a drummer, a vocalist, an actor, and a dancer. I had gotten picked up more on the music side and that sort of went, and that's where I found my community in New York and that's the path that I went down.
I joined Tommy Dorsey at the Paramount Theater in New York as a singer. I replaced Frank Sinatra.
I knew I wanted to be an actor, and I didn't necessarily need or want to be famous or a celebrity actor. But I wanted to be somewhere where there would be no ceiling on what I could accomplish, and I felt like if I stayed in St. Louis I might have a really great regional theater career or something, but that I wasn't going to be able to get much further than that. And it felt like New York and L.A. were the two places where you could end up being a TV star or you could end up doing regional theater, which would have been fine as well.
I told people I was a drummer before I even had a set, I was a mental drummer.
I went to theater school in France, and when I finished I thought I would never go back to acting again. I don't want to be acting in theater. It's not for me. I'm sick of all this theater world, all these actors, and all that.
Once I had defined myself as a compositional drummer, I thought, "Well, I want to be an improvisational drummer."
I was always very aware of drummers. My oldest brother Henry was a drummer, and he drummed on everything in the house from the kitchen sink to stovepipes. He was the first drummer in the Gil Evans Orchestra, so you've got to know how great he was.
One thing I really want to do is - I spent ten years in New York doing theater before I moved to L.A. to do TV and film. I'd really like to go to back New York and do some theater.
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