A Quote by Jamie Parker

I think you need to be very careful of getting 'stuck' in musical theatre. — © Jamie Parker
I think you need to be very careful of getting 'stuck' in musical theatre.
Opera is musical theatre, and the music can teach you so much about the theatre. Very often I use musical terms to think about how I comport myself on stage: I employ 'rubati,' 'ostinati,' 'cadenze.' Finding these parallels is very fascinating for me.
I've always loved musical theatre. I've always been a big kind of closeted musical theatre nerd. I really have always dreamed about being able to do musical theatre.
I used to do puppet theatre and also mime and musical theatre in Florida for competitions and festivals, which was great. I was very much involved in theatre when I was in college.
I came to musical theatre from straight acting, and a lot of my friends have a real prejudice about musical theatre - one I probably shared.
Musical theatre goes through cycles. I came in when it was at the absolute height of musical theatre as I remember it. It was the age of the long-runners.
I think the genre of musical theatre, when it started, the pop songwriters of the time were writing the music. I think sometimes when we write musicals now, we keep writing in that same style, as though that's the musical theatre genre... We have to figure out how to tell stories with the music that we listen to now, or we'll lose our audience.
It's been in my musical DNA since I was a little kid. I think musical theatre has really influenced everything I've done.
Often people talk about how they feel 'stuck' in a situation. You're never stuck! You may be a little frustrated, you may not have clear answers, but you're not stuck. The minute you represent the situation to yourself as being stuck, though, that's exactly how you'll feel. We must be very careful about the metaphors we allow ourselves to use.
I think we need to be very careful if we want to do things like further modify our atmosphere. And similarly, I think we need to be very worried about unintentional modification, which is basically what's been going on.
I think you have to be very careful getting the balance right if you're going to talk about grand themes like war, death and nationhood. You need to use the right language or don't do it at all.
I think we should be very careful about artificial intelligence. If I had to guess at what our biggest existential threat is, it's probably that. So we need to be very careful...With artificial intelligence we're summoning the demon.
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.
When people ask me if musical theatre should be taught in music colleges, I reply that there is no need. All anyone needs to study is the second act of La Boheme because it is the most tightly constructed piece of musical theatre that there is. It is practically director-proof: you can't stage it badly because it just works too well. If you can write La Boheme, you can write anything. I would also recommend studying Britten's Peter Grimes.
I don't want the government to be censoring people, I don't think there should be censoring boards, but I think that means that we the artists need to be very careful about what we're putting out and what were saying and how we're saying it. And I don't think we're being as careful as we should be.
Looking back, I think I was always musical. My dad was very musical, and I think my mom was musical.
Obviously musical theatre is not my thing, but dramatic theatre is much more up my alley.
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