A Quote by George C. Wolfe
Musicals spring forth from minstrelsy, vaudeville, melodramas; it was all these things combined to create the form.
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Our surroundings are not contained by name and form. You are neither the body nor the mind, these are limits you identify with through a lack of clear-sightedness. When you are attentive to a tree or flower, the perception, shape, name and concept are not the only things present. There is also the All-presence that you share with them and that you are both part of. The very name and form spring forth from this eternal background, the All-presence. This is instantaneous awareness that cannot be reached by thought.
I wasn't straining at the bit to become a movie star any more than I had plotted to get out of vaudeville and into Broadway musicals.
I wasn't straining at the bit to become a movie star any more than I had plotted to get out of vaudeville and into Broadway musicals
My best memories growing up are of putting on musicals with my mom and dad, Both of them are real hams; it was like vaudeville in East Hampton.
But the truth of the matter is, that was fairly, fairly early on in Goebbels' 800 movies that he made in Germany. The majority of them, especially once the war got going, you hardly saw Nazi officers in it at all. They were mostly musicals and comedies and melodramas and stories of great German men from the past.
I was fortunate enough to work at the peak of the great golden age of musicals. And then for awhile, I think they were being advanced in different ways. Andrew Lloyd-Webber brought the rock beat to musicals; people tried different things. The joy of musicals is that there is no perfect recipe; it is what you throw into it.
I think musicals are a lowbrow, populist art form. And I don't mean lowbrow in a condescending way at all - they are designed to create delight, wonder, joy, surprise. And what becomes really interesting is when innovative or challenging or smart people take it and use the easy runway that the form allows to take people to another planet, or another place. Or subvert it in some way.
Vaudeville could not vouch for the honesty, the integrity, or the mentality of the individuals who collectively made up the horde the medium embraced. All the human race demands of its members is that they be born. That is all vaudeville demanded. You just had to be born. You could be ignorant and be a star. You could be a moron and be wealthy. The elements that went to make up vaudeville were combed from the jungles, the four corners of the world, the intelligentsia and the subnormal.
There are no large-scale original musicals being made right now. They're all Broadway adaptations and jukebox musicals or catalog musicals, and they just don't interest me as much.
Milton took vaudeville, which, if you look up 'vaudeville' in the dictionary, right alongside of it, it says 'Milton Berle' - and he made it just a tremendous party.
Musicals allow a depth of emotion that you don't get in another form of acting, the chord changes, the lyrics really affect people, so that in two hours, you've forgotten about things.
In the English language, it all comes down to this: Twenty-six letters, when combined correctly, can create magic. Twenty -six letters form the foundation of a free, informed society.
The musicals on Broadway have not necessarily been true musical theater. I'm speaking generally, of course: I saw 'Spring Awakening,' and I was completely inspired by that.
The sum of things there is no power can change,
For naught exists outside, to which can flee
Out of the world matter of any kind,
Nor forth from which a fresh supply can spring,
Break in upon the founded world, and change
Whole nature of things, and turn their motions about.
During the 20th century, we came to understand that the essence of all substances - their colour, texture, hardness and so forth - is set by their structure, on scales far smaller even than a microscope can see. Everything on Earth is made of atoms, which are, especially in living things, combined together in intricate molecular assemblages.
When a poet mentions the spring, we know that the zephyrs are about to whisper, that the groves are to recover their verdure, the linnets to warble forth their notes of love, and the flocks and herds to frisk over vales painted with flowers: yet, who is there so insensible of the beauties of nature, so little delighted with the renovation of the world, as not to feel his heart bound at the mention of the spring?
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