A Quote by Damian Woetzel

The chance to work on Broadway choreography as opposed to having to deliver Broadway choreography can be two distinct things. — © Damian Woetzel
The chance to work on Broadway choreography as opposed to having to deliver Broadway choreography can be two distinct things.
Fight choreography has far more in common with dance choreography than it does with actual martial arts. You learn martial arts techniques, but those are just the movements for the choreography. You're working with a partner in choreography. You're working on timing.
If you don't go to Broadway, you're a fool. On Broadway, off Broadway, above Broadway, below Broadway, go! Don't tell me there isn't something wonderful playing. If I'm home in New York at night, I'm either at a Broadway or an Off Broadway show. We're in the theater capital of the world, and if you don't get it, you're an idiot.
I learnt a lot from my Broadway experience, it was one of the most challenging things I will probably ever have to do in my entire life, because it was eight shows a week - live singing with really hard choreography - and the spontaneity, you don't know what's going to happen.
During the winter of 2013, we were running 'Comet' up in midtown - as opposed to downtown - and across the street in the Standard, and that was, like, our third time going at it, from Ars Nova to downtown to near Broadway. We weren't on Broadway. We were near Broadway, as we said.
Dance has helped me with everything. It was a great foundation for discipline, hard work and, unfortunately, the ever-elusive idea of perfection. It lends itself easily to fight choreography, because that's what it really is. Choreography. And knowing how to move with someone.
I wanted to be a therapist if the acting didn't work. I also did a lot waitressing and odd jobs. I'd audition but couldn't get hired to save my life. I'd do Off-Broadway theatre and that was great and I was excited and thrilled, feeling like, 'Well, it's Off-Broadway, but there's still the Broadway in there.'
Choreography is amazing. I'm still a dancer, yet I transitioned into choreography then as a Creative Director. All of these creative elements are brought out of being a dancer. Directing is something that comes out of understanding movement and choreography. Directing movement is directing a dance piece.
I never intended to go to Broadway. I was very happy being in an Off Broadway theater and having an Off Broadway life. What it did to me is try to fit a round peg - that's me - into a whole bunch of square buildings. I just didn't fit.
I'm not a person who believes that Broadway is the only place. I think there's lots of work that goes on outside of Broadway and outside of New York that's better than anything Broadway has ever seen. But, it's historically the place. It's one of the centers of the universe, in many ways.
Then came the choreography... the impact of music and choreography tends to really emphasize an overall feeling of what you really want out of the program.
I remember doing Broadway, I started Broadway in 2005, and, of course, I sing two songs in the play, 'Hairspray'.
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.
Don't get confused; doing choreography in the ring can be done by anyone. I take the guy who works in the gas station on the corner, and I teach him a choreography for a week, and I swear he can do it in a ring.
Idol has pretty much taken me out of my recording and out of my choreography. I have managed to slip in some choreography jobs. And I've been writing songs for other artists.
You hear about Broadway your whole life, and I learned what it meant to work on Broadway in 'The Phantom of the Opera.'
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