A Quote by Jennifer Damiano

I did commercials and voice-overs as a kid, and it just lead to musical theatre opportunities. — © Jennifer Damiano
I did commercials and voice-overs as a kid, and it just lead to musical theatre opportunities.
When I started out in Canada, I did a lot of voice-overs and commercials.
To be honest, there is a special gift for doing voice-overs, and the people who did the voices in the 'SpongeBob' cast are excellent at cartoon voice-overs, and they bring something extra to the reads.
In my career, I have done more than a thousand voice-overs in commercials, cartoons, and radio shows, so I'm very familiar of my voice capabilities and its range.
I was really, really, really enthusiastic as a kid. I was up for anything. I was hugely into music and theatre. I was a big musical theatre kid; I loved reading.
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.
It's been in my musical DNA since I was a little kid. I think musical theatre has really influenced everything I've done.
Between 50 overs and 20 overs, there is a big difference, because there is 30 extra overs of fielding and six extra overs to bowl, and that can take its toll.
I was the singing voice of a cartoon character. I did dog food commercials. I did a lot of commercials, actually, and helped pay my rent and my classes. Then I'd get one good line or two good scenes. I was building my career and building my own experience and learning technically what it was like to be on a set and all of those things.
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 loved the opportunity to just transform my voice. I loved the idea of doing impressions and mimicking and playing around with the spectrum of your own voice. That's what I enjoy most about doing voice-overs.
The main reason for the break was a combination of travel and going back to university, which drew me into theatre more than music. I did stuff on acoustic guitar when I was traveling, filed it away and made notes, without it being musical notation. Just taped the odd thing, did a sketch, stuck it on a cassette. I thought at some point, I'll go back to it. Some of it I did use in '84-'85 when I started working in the Free Theatre in Christchurch. So it might seem like I had given up after the Pin Group, but I just went into a different avenue.
I did theatre a lot when I was a kid. Then I went to acting school in New York. I did a lot of behind the scenes in college. I wanted to learn while I had the time. I studied theatre and film in different capacities.
I always grew up around acting. I did commercials as a kid and all that kind of stuff and my oldest brother did theatre in High School. It's funny, when I was 15 I had a friend of mine who dragged me away to a camp at Boston University. It was the first time truthfully that acting didn't feel presentational; it felt very personal. I didn't just feel like I was singing and dancing for my friends in High School. It felt like I was doing a scene and all of a sudden I started to feeling something - I started to feel emotional.
In 1969, I wrote a musical called 'Mother Earth.' It was a rock musical with an ecology theme. We did it at the South Coast Repertory Theatre in Southern California where I was a member. It was a smash hit in this small theater.
I did musical theatre for about four years. One time, I did six shows in one year whilst juggling school.
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