A Quote by Jason Mraz

I've asked to go back into theaters and smaller venues because to me, in smaller venues I can really demonstrate my commitment to quality. Theaters are great containers for music.
My favorite venues are the 2,000 seat theaters, like the Warfield. If there was a Warfield in every city, I would play it. That's all I would do. I love venues like that.
I love the smaller clubs. I love the theaters. I love the festivals. There are things I don't like. At certain theaters, people can't get up and dance.
I prefer to play in smaller venues because I like the intimacy, the connection with the audience.
Back in the early 1980s when rappers couldn't perform in the fancy venues because the police were too racist and scared, it was the punk venues letting them in to perform.
I headline concert halls for 20,000 people, but I still play smaller venues.
I really like intimate venues because it feels like everyone in the audience is in on all our inside jokes. We could say things and people will catch them. That couldn't happen at a festival because nobody would catch it. I also like that in a smaller space people can be talking to each other and listening to the music; they don't have to be watching you the whole time.
As far as the live shows go, we're not leapfrogging all the smaller venues. We would have bypassed these kind of shows and gone straight to the Arena shows, but we didn't want to.
I enjoy my solo career because I get to play smaller places like clubs and theaters, and the interaction with the audience is much higher quality. It also sounds better than a baseball stadium. Everybody has a good seat, and I don't have to play a specific part like I do in the Eagles.
Big Government is the small option: it's the guarantee of smaller freedom, smaller homes, smaller cars, smaller opportunities, smaller lives.
I'd rather do smaller theaters, because it's more fun for the audience and more fun for me. I like to build up demand.
I think, in a lot of ways, it's easier to play a smaller room. You can exploit the quieter dynamics you would shy away from in larger venues.
I don't like to go to theaters, because I don't like the way most people behave in theaters.
As a woman of color, slowly and with some coercing, the not-for-profit theaters around the country are beginning to recognize and embrace the power of our stories, but with regards to Broadway and other commercial venues, we remain very much marginalized and excluded from that larger creative conversation.
There is a problem on the so-called commercial stage in New York. The price of a ticket is exorbitant, and there are no longer original productions possible, apparently, on the commercial stage. They are all plays that were taken from either England or smaller theaters, off-Broadway theaters, and so on. The one justification there used to be for the commercial theater was that it originated everything we had, and now it originates nothing. But the powers that be seem perfectly content to have it that way. They don't risk anything anymore, and they simply pick off the cream.
People will go to clean theaters; they don't like to go to dirty theaters.
In L.A., we played rock venues because we had a band, which hip-hop venues couldn't accommodate. And within that, we created a show which we could put on in front of anybody.
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