A Quote by Gurinder Chadha

The great thing about musicals is that they transcend race. — © Gurinder Chadha
The great thing about musicals is that they transcend race.
There's a lot of great, talented, passionate musical theatre practitioners and directors here. But it's very hard to suddenly start building great musicals in a town like Sydney where there hasn't been any great musicals built.
The great minds, the great works transcend all limitations of time, of language, and of race, and the scholar can never feel initiated into the company of the elect until he can approach all of life's problems from the cosmopolitan standpoint.
We are not post-racial. And in many ways we don't even know how to have a conversation about being post-racial. Until we get out of that old-school way of thinking about race and opportunity and the ability to transcend some of the past of this country, then we're going to be stuck in the 20th-century conversation about race.
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.
Great art allows you to transcend your mortal frame and to reach for the stars. I think great science does the same thing.
All the more a cheesy musical seems fake, so it requires a level of honesty to be injected or an acknowledgement of that which is fake and fun about musicals, and it isn't necessarily escapist. Like there are great musicals like Once, which feel very almost like a mumblecore musical. I love Once. It's great.
Being known for musicals is a great thing.
Aspiring black leaders are often asked to transcend race, even though no one ever asked, say, Hillary Clinton to transcend gender. This is a precarious race straddle that most members of the breakthrough generation seem to reject. Even the most well meaning white Obama supporters seem to take deep satisfaction in this idea. Obama, they insisted, could be raceless, a reasurringly optimistic view of America's deepest burden that ignores countless peices of evidence to the contrary.
My view is that musicals are love stories with great final scenes. It's just that simple. Musicals are also conflicts between two worlds. And by those criteria, 'The Color Purple' is actually exactly the kind of story that makes for a great musical. Yes, it's got hard stuff in it, but so does 'Les Miserables' and 'Phantom of the Opera.'
I've been fortunate in my career to have performed in revivals of great musicals and to have originated roles in musicals that have in turn been revived. And I'm not dead!
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.
I like to explore different ideas of race, how the concept of race has evolved in the country. It's one thing I enjoy talking about, but I don't feel compelled to talk about it.
I don’t believe it is possible to transcend race in this country. Race is a factor in this society. The legacy of Jim Crow and slavery has not gone away. It is not an accident that African-Americans experience high crime rates, are poor, and have less wealth. It is a direct result of our racial history.
In the past, I said I didn't want to speak on certain issues because the second I said one thing about race, then 'Tyron's playing the race card.' But if you really think about it, what is the race card? The race card is that the man held me down, I had unfair circumstances, and I wasn't able to be successful because I was held down.
My generation produced some terrific writers from all over, and the great thing about it is that they were all mixed in race.
The only stuff I don't like are Broadway musicals. I hate them. I don't even like to talk about it. I can't bear musicals.
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