A Quote by John Kander
I guess I think of a musical as something in which the music is sort of like the engine of the piece - whether it is in the theatre or in film.
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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.
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.
I'm constantly working on something new, whether it's a Garbage song, or for someone I'm producing or a song for film or TV whatever it is. I guess I'm sort of living in the moment and moving towards what I'm doing next. I think most artists are like that.
I do like to be creative and I'm very lucky that I've been given different areas in which I'm able to do that - whether it be film or television or theatre or whatever. I'm also still into music and recording.
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.
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 guess I have some kind of a visceral connection with drums. I'm looking to create music that people can react to viscerally, and people will respond to viscerally. I think that you can listen to music, to a song you've never heard before and not really like it, but also feel like you're responding to it physically whether you like it or not. I think that's a powerful aspect about music, and I think that's something that draws me to drums.
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 don't have a preference between theatre and film; I like to do both. But I will say that there's something about theatre that is more nourishing and sustaining than film ever can be.
I certainly have a fascination with pop music as a musical form, not necessarily as a lifelong commitment. I guess you could say I'm like a Casanova of music. I can't seem to settle down with one musical form.
My parents say it all began with my role of Percy the Polar Bear back in nursery school! I began dance classes at the age of five (you would never guess though) and then I went on to join my local theatre group, Glantawe Players, at the age of eight and then Swansea Amateur Dramatics Society. I then joined the National Youth Music Theatre, so I really can't remember a time when I wasn't interested in Musical Theatre!
I'm just attracted to good material and great characters and that can come in any form, whether it's television or film or a theatre piece.
There's an infantilization that happens to actresses in general - musical theatre, straight theatre, television, film - we're spoken to like children. Actors are spoken to like children a lot of the time.
I think there is no culture in which music is not very important and central. That's why I think of us as a sort of musical species.
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.
The real writing of a piece comes only when you are performing it. It is why I like theatre. In film and TV, the image is locked forever, but in theatre, there is constant change; each performance is part of the writing process.
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