A Quote by Idina Menzel
After 'Rent,' I tried to make a record, and it didn't work out, and it was the Broadway community that welcomed me back. It's where I feel the most understood, most at home.
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The music brings me confidence and freedom. It's also the thing that can make me feel the most vulnerable. Once I finish writing all the songs for an album, once I actually record them, that whole process is usually easy and enjoyable. The part where I feel the most vulnerable is when it's all finished, I can make no more changes, I've turned it in, and there's no going back. All of a sudden I hear the songs in a different way; that's when I feel vulnerable.
My best audience and where I’m happiest is in the gay community. That’s where I feel the most accepted. It’s a community that appreciates pop culture like no other. For me, that’s where I’m home and I always want to come home.
We're actors at the end of the day. I don't take it home with me. My experience outside of work, I love... when I hear wrap, it's the most exciting part of my day. I'm the first to have my make-up off, in the car, out. I've gotta go home. I want to get back to my life. I love it back there.
I went back to work right away [after prison]. I was very lucky — a friend of mine created a job for me at his company. Most prisoners who come home face really significant challenges when it comes to finding work. It’s very, very hard for most people who have a criminal record to get a job. I think the system is very wasteful of taxpayers’ dollars. It’s also very wasteful of human potential. I found that most people whom I was locked up with were, you know, good people who have skills and value. Prison is a missed opportunity to nurture those things.
The Broadway community means the world. That goes for the actors, that goes for the crew, the producers, the writers, and most importantly, that goes for the fans. The Broadway community is one that I will always hold very near and very dear to me.
I have always wanted to do Broadway, my whole life, but I never knew I'd actually make it - it's a dream; it's never been in the realm of possibility. So to be doing 'Hello Dolly!,' it's not just Broadway, but it's the most joyful, sort of classic Broadway experience with the most extraordinary company.
When I had a record deal in the '90s, that was my dream - to make an album like Barbra Streisand's Broadway album - and they laughed me out of the room. Broadway wasn't cool. But artists like Michael Buble and Josh Groban have brought the classic genre back to the forefront, so I'm trying to find my way inside that market.
Portland has influenced me in that it is very much where I feel most "at home" in the world. I grew up there. My family is there, my closest friends are there; my favorite bookstore, record store and coffee joint are there. Portland changed a lot during the eight years I lived in Bellingham but, every time I went back, it always felt like home.
You sometimes get the feeling that people think getting back together after a hiatus to write and record a record is work, you know, arduous and unpleasant. Being able to write and record - that's a privilege. I don't forget the long days I spent working in a restaurant, when I wanted to be done so I could go home and work on a song.
I imagine there are a lot of people who will never be able to accept me because they feel I've let them down, but I am a different person, and most people have welcomed me back in that spirit.
I feel the most beautiful when I'm the most relaxed - for example, after a productive day of work or during a comfortable, rested afternoon. But I also feel great when I reunite with friends after a long time.
I hate racial discrimination most intensely and all its manifestations. I have fought all my life; I fight now, and will do so until the end of my days. Even although I now happen to be tried by one, whose opinion I hold in high esteem, I detest most violently the set-up that surrounds me here. It makes me feel that I am a Black man in a White man's court. This should not be I should feel perfectly at ease and at home with the assurance that I am being tried by a fellow South African, who does not regard me as an inferior, entitled to a special type of justice.
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.
It took me a while to figure it out, but to have a real hit on Broadway, you have to get the respected Broadway people to like it. But then the production also has to appeal to the most middle-class people who know nothing about Broadway and who come to see it later.
Adam Smith, and other able writers to whom I have alluded, not having viewed correctly the principles of rent, have, it appears to me, overlooked many important truths, which can only be discovered after the subject of rent is thoroughly understood.
For Native Americans, the most shameful and powerful corrective gesture is to literally and physically turn one's back upon a person who has transgressed, and then after they've been banished for a while, they come back into the circle and the members of the tribe say every good thing that person has ever done, because they have to be welcomed back.
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