A Quote by Dinah Sheridan
What a thrill it was to play opposite Maurice Evans in this brilliant, dazzling musical, based on the life of two of the greatest personalities in stage history.
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Sure, I'd play an ape if they asked me. Maurice Evans did.
'Story of My Life' was essentially a two-man musical play. In hindsight, I don't know if there was room for a two-man musical on Broadway.
The stage is the opposite: you are talking loud so you can project to the back row and you know the whole play. In a movie, you are scene-to-scene; you only know the purpose of that scene. On the stage, that is artistic science. It is real, it is loving, it is truthfully you. It is two different formulas to make two different art pieces, but it is all about truth.
For the score of 'Black Panther,' the heart and soul came from immersing myself in the rich musical history of the griots in West Africa. I was following these brilliant musicians all over rural Senegal, learning their musical language.
I saw stars like Helen Hayes, Maurice Evans, Tallulah Bankhead and Cornelia Otis Skinner. It was enchanting. I knew that was the world I wanted to be in.
He educated Maurice, or rather his spirit educated Maurice's spirit, for they themselves became equal. Neither thought "Am I led; am I leading?" Love had caught him out of triviality and Maurice out of bewilderment in order that two imperfect souls might touch perfection.
One of the first roles I had on stage was with a brilliant director in a brilliant play with a brilliant cast, but I just couldn't find my way into the heart of the character. I found myself straining a lot. When it started. I felt lost. That was the Eugène Ionesco play Rhinoceros. I don't think I was prepared for that. I don't think I had the full tool kit to do it justice. It's a very difficult play, it's an extraordinarily difficult part, and I never felt I really got it right. Far from it. To a degree, Hamlet was the same.
The greatest thrill is that moment when a thousand people are sitting in the dark, looking at the same scene, and they are all apprehending something that has not been spoken. That's the thrill of it, the miracle - that's what holds us to movies forever. It's what we wish we could do in real life.
You can't think and play. If you think about what you're playing the playing becomes stilted. You have to just focus on the music I feel, concenctrate on the music, focus on what you're playing and let the playing come out. Once you start thinking about doing this or doing that, it's not good. What you are doing is like a language. You have a whole collection of musical ideas and thoughts that you've accumulated through your musical history plus all the musical history of the whole world and it's all in your subconscious and you draw upon it when you play
Clare Fischer was a major influence on my harmonic concept. He and Bill Evans, and Ravel and Gil Evans, finally. You know, that's where it really came from. Almost all of the harmony that I play can be traced to one of those four people and whoever their influences were.
The thrill of standing on the stage and hearing the crowd, it's the greatest feeling in the world. It's a blessed feeling.
Musical numbers should carry the action of the play and should be representative of the personalities of the characters who sing them.
It's quite a thrill to see it coming to life on stage.
My musical influences are from the '50s: Bill Evans, Miles Davis and Ahmad Jamal.
You have to have two personalities: your home personality and your work personality and the trick really is not to allow one of those personalities to drain the life out of the other.
My greatest thrill? That's easy. It came the day Mr. McGraw named his 20 all-time players. I'm ninth on that list and that is thrill enough to last me a lifetime.
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