A Quote by Jerome Kern

Musical numbers should carry the action of the play and should be representative of the personalities of the characters who sing them. — © Jerome Kern
Musical numbers should carry the action of the play and should be representative of the personalities of the characters who sing them.
Certainly, your characters - whether they are superheroes are not - should have foibles. They should have problems; they should have things that their powers can't solve. That's what makes them nuanced, interesting characters. They can have intense motivations. They should have intense motivations to do what they do.
Any person should have enough sense to know that a PM should have public support. Numbers should be with them.
Everyone should dance. And everyone should sing. People say, 'Well, I can't sing.' Everybody can sing. That you do it badly is no reason not to sing.
Musical theater is great; you get painted up, you get to play princesses and witches, and you sing. The joy alone of that can really carry a lot.
The main thing a poem ought to be is musical. It should be rhythmic. You should hear it as a musical piece in your head as you're writing it.
You asked what is the secret of a really good sketch. And it is a sketch is a small play. It's got a beginning, and a middle and an end. It should have a plot; it should have the characters, conflict. It is a little play. And in it, will be funny stuff.
On average, people should be more skeptical when they see numbers. They should be more willing to play around with the data themselves.
The Merchant, to Secure His Treasure The merchant, to secure his treasure, Conveys it in a borrowed name: Euphelia serves to grace my measure, But Cloe is my real flame. My softest verse, my darling lyre Upon Euphelia's toilet lay - When Cloe noted her desire That I should sing, that I should play. My lyre I tune, my voice I raise, But with my numbers mix my sighs; And whilst I sing Euphelia's praise, I fix my soul on Cloe's eyes. Fair Cloe blushed; Euphelia frowned: I sung, and gazed; I played, and trembled: And Venus to the Loves around Remarked how ill we all dissembled.
Some people should just start ideas and other ones should carry them out.
Since it's based on my parents, it's more emotionally close to me than some of my more surreal plays. And then I like the balance of the comic and the sad. It should play as funny, but you should care about the characters and feel sad for them.
One should not associate with controversy; one should always reach for the highest ratings; one should never forget that there is safety in numbers; one should always remember that comedy, adventure, and escapism provide the best atmosphere for selling.
I was at a school in England, a prep school, from the ages of 8 and 13. And every play they did was a musical. Parents love musicals. And I don't sing. It was driving me crazy. 'We're doing 'Macbeth.'' 'Yes!' 'The musical!' And I was always in the chorus, because of course, in all the main parts, you had to be able to sing.
I was at a school in England, a prep school, from the ages of 8 and 13. And every play they did was a musical. Parents love musicals. And I don't sing. It was driving me crazy. 'We're doing 'Macbeth.' 'Yes!' 'The musical!' And I was always in the chorus, because of course, in all the main parts, you had to be able to sing.
They call them performance artists, but they shouldn't be making an album. They should just be dancers. I don't know, I'm a musical snob. I feel like if you're going to record music and you're going to be a singer, you have to be able to sing.
If someone said, "Here, you have your pick, you can do either a musical, Moulin Rouge type of movie, where you sing and dance, or an action movie, or a Shakespearian or Elizabethan movie," I would definitely love to do a movie that was based on a musical, where I would get to sing, dance and act, all at the same time.
Producing a one-hour show that has to reinvent musical numbers, and interpret those musical numbers with a large cast, is difficult.
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