A Quote by Dick Van Patten
I was in 27 Broadway plays in a row as a kid, and in between, I learned how to play the horses from the stagehands.
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I was in 27 Broadway plays, and three of them got the Pulitzer Prize.
The longer you play, the more you realize that you can't lose focus for one play or two plays or an entire drive. Those things are the difference between wins and losses. You have to figure out how to refocus after a bad play or how to stay focused when you're up in a game. Those are things you learn from experience in playing this position. I've learned a ton of ways and have different triggers for how to regain my focus if I've lost it.
I was doing a Broadway play, and I was really new to this business. The Broadway play was my first job, literally. The play next door was a musical called Falsettos. The director got hired to direct this Michael J. Fox movie and was looking for a kid who could play brash and salty and mean [in Life With Mikey].
I don't play polo anymore because I am too old. But we still have a half a dozen horses - a couple of young horses we are teaching how to play polo and older horses that are real trustworthy when you get them up in the mountains.
Nowadays, most educated people would just as soon stay home and watch 'Breaking Bad' as shell out a hundred bucks to see a Broadway play - assuming that there are any plays on Broadway worth seeing, which long ago ceased to be a safe bet.
If someone plays five good games in a row for the Bavarians, there is more talk about them being in the national team than of those who play five good games in a row for Dortmund or Wolfsburg or Bayer Leverkusen.
In school, when we lived in New Jersey, we went to Broadway a lot, so I saw a lot of Broadway plays, and I just loved being able to see people play a different character and, you know, be able to be themselves at the end of the night. So, I've always wanted to do it.
The commercial theatre may still be considered one of New York's primary tourist attractions, but . . . there is no longer an audience for serious Broadway plays. . . . Perhaps we should acknowledge that, having lost its traditional audience, Broadway can never again be a home for new plays.
I'm not the fastest, not the most athletic, but I learned how to play the right way. I learned how to be a professional. I learned how to win and how to be a team-first guy.
I'm a kid that went to theater school. I thought I was going to be making my living doing plays regionally or in New York or on Broadway, and maybe if I got lucky I would do a movie here or there.
In '92, I got my first Broadway show as a performer - 'Crazy for You.' I was in the ensemble. In fact, I was in eight Broadway shows as a dancer. Seven of them were original shows. That's how I learned to create something from the ground up.
You can sit down with your child and prompt him to show you something - perhaps how to play a game [on the computer]. By learning a game, you're getting close to the kid and gaining insight into ways of learning. The kid can see this happening and feels respected, so it fosters the relationship between you and the kid.
That's always - that's been another dream of mine, to do a Broadway play. An award winning Broadway play.
The only thing I have never done is a Broadway play. I'm not sure I have the discipline necessary to do a Broadway play. I know it holds a fascination for certain actors.
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.
Over the years, I've had to learn to play. For example, when 'Lennon' was on Broadway, I learned my way around the guitar chords because originally we were all going to play the instruments without a band.
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