A Quote by Lea Salonga
I think that if an audience is truly appreciative of a performance, they will show it. Sometimes though, there are little differences, and there are audiences that are very reserved even though they are enjoying the show.
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The only difficulty is that I'm playing to two audiences, and it's too bad the noise detracts from the show, because it's a great show. I've seen my own self out there, and it's a very good musical show. Sometimes the show gets lost in the hysteria and sometimes it doesn't.
I sometimes close my eyes during a show because I have drawn a picture of an audience enjoying the show more on the back of my eyelids.
The Broadway audiences are very vocal and seem very engaged. For certain shows, especially with a show like 'The Heiress,' the audience's reactions sound like 'The Jerry Springer Show' sometimes. That seems to be a very New York thing. Oh, there's also the entrance round of applause here, which we don't get too much in London.
Even though you're in charge, you're not completely in ownership. You know, the audience takes a huge ownership of your show. Look at comments about shows and tell me if I'm wrong. Look at shows like 'The Walking Dead' and the ownership that the audience has of that show.
When you go to a show on opening night, or even the second performance, it is at the very beginning of what it will become. By the end of this run, the show will actually be what it is intended to be.
I mean, we make a 15-minute show that's incredibly silly, even though all of our scenic designers, puppet builders. animators, everybody that works on the show take their work very seriously. So somebody saying that we'd even be in contention for a very respectable award is really nice.
I think it gets really dangerous, though, to do it on the show. I think that the writers and producers are very much aware of that and the dangers of putting characters together and what that can mean for the show. You know, it's possible it could kill the thing that holds the show together, the chemistry, sexual tension between the two characters.
I think it's good to have different styles, though. I think it's good to have a lucha on a show, some Japanese flavor, I think MMA is a good thing, a little bit of the hardcore and the blood and guts is good. That is what makes a show for me.
And also the idea of not making it apparent that it's different from the rest of the film, even though there are visual differences, the audience is supposed to think that they are with him when he wakes up in the morning.
Even though you're in charge you're not completely in ownership. You know, the audience takes a huge ownership of your show.
I love the stage - the fact that you only have one take to get it right, the interaction with the audience, and how every show is different even though you're doing the same thing.
My experience of working on this show, even though there is so much about sex and sexuality, and we find out a lot of facts and statistics that are very interesting, in their own right, I found that I started talking about relationships more, and the emotions, the difficulties and the challenges. So, I became far more open about that, which I think is probably an indication with the show itself.
That's what Letterman did. He mocked everything and everyone in show business, even though he was at the top of show business. He was in it but not really of it, and that's one thing I came to love about him. I mean, you can't sit there and interview Cher and pretend you're not in show business, but he managed to pull it off somehow.
In my 20s, I was more cynical/despairing (even though I still wrote comically), but I often sent audiences home with rather dark last moments. After a while though, I don't want to send the audience home bummed out, or distressed ... I want to see what's hopeful. I'm not overly cheery all the time, and yet I'm not suicidal either. I do think people can make choices that make their lives happier.
When the theater is gothic it matches the sensibility of the show. It's also very intimate. The audience is very close to the performers. The show is scary and the scary stuff always works best with an intimacy with the audience. And the show is erotic, and I think erotic always works best when it's close to the audience, as well.
My show is an anti-show and the audience have to want to listen. I'm sitting down, there's only one of me, I don't talk much to the audience and it is very quiet. I wouldn't be able to do that kind of show if people didn't know me and my material.
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