A Quote by Gena Showalter

There was something so best-musical-ever when people screamed and begged for mercy, and she could listen to a good musical all day. — © Gena Showalter
There was something so best-musical-ever when people screamed and begged for mercy, and she could listen to a good musical all day.
To me, the musical is best when it's a musical comedy. So if you have a very, very funny show, and very good, funny songs, that's what the musical does best.
I do think musical-theater actors can get a bad rap, and I see why. There is a certain slickness - there's nothing better than an amazing musical, but an okay musical can be one of the worst times you've ever had.
I love plays that have musical moments. I'm not a big fan of musicals per se, but I love straight plays that have musical edges to them. I don't know if I will ever be able to structure a musical, but 'Finer Noble Gases' is as close as I've gotten.
My embarrassing confession is that my father is a 'Camelot: The Musical' obsessive. So as a child, when we were going to visit relatives on the weekend, whenever we were driving back on these three-hour drives, he would be playing the musical soundtrack on repeat, on the cassette in our car, to the extent that we begged him never to play it again.
Whatever is original in my writing comes from my musical apprenticeship. I look for rhythm in words. I imagine words as if they were musical chords. Often I'll write something, read it, and find it musically unsatisfactory. There is a musical imperative in my choice of words.
With music, you could stick someone with a musical instrument or even not a musical instrument, get them to showcase their talent, and within 30 seconds you could tell whether they were good or not, but with acting you have to give them the right part.
There was a lot that was tricky about playing with [Thelonious Monk]. It's a musical language where there's really no lyrics. It's something you feel and you're hearing. It's like an ongoing conversation. You really had to listen to this guy. Cause he could play the strangest tempos, and they could be very in-between tempos on some of those compositions. You really had to listen to his arrangements and the way he would play them. On his solos, you'd really have to listen good in there. You'd have to concentrate on what you were doing as well.
I can destroy a dance floor. I think life should be a musical. I always hate it when people watch a musical and they go, 'Oh, it's so unrealistic, no one just breaks into song in the middle of their day.' Yeah, they do- if they're me.
At the end of the day, I always maintain you can substitute 'The Book of Mormon' for 'The Bible: The Musical' or 'The Quran: The Musical.'
I auditioned for a musical, and I can't sing. It was a kid's film musical, not a stage show, so I thought I could get away with it.
So far as musical pedagogy is concerned - And by extension of musical creation - Nadia Boulanger is the most influential person who ever lived
He screamed for all he had lost...screamed for the half male he was...screamed for Jane...screamed for who his parents were and what he wished for his sister...screamed for what he had forced his best friend to do...He screamed, and screamed until there was no breath, no consciousness, no nothing. No past or present. Not even himself anymore. And in the midst of the chaos, in the strangest way, he became free.
There is something about musical narrative and Australians. If you want to do something, you kind of have to do it at a level - because we're so far away from everywhere else - that exceeds what is just normal if you want to convince people that some guy from Australia is worth backing for an original musical.
At one point when I was very young, when I was first starting out, I thought, 'Well, one day I'll be able to put all the music away and become a real comedian.' But then I realized there are amazing musical comedians out there, that musical comedy is probably something I'll always want to pursue.
It seems like pop singing has sort of influenced musical theatre in so many ways - you could argue good or bad, really - and musical theatre is written for that style so often, which is a completely different style.
I'm not a poet. I'm not up onstage to get something off my chest. I'm making musical statements, or, most of the time, musical questions for people to figure out, and I'm not going to get in the way of that.
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