A Quote by Lucy Boynton
People keep referring to 'Sing Street' as a musical, but I really never felt it was that. I can't really define it as a musical.
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I think my dream would have been to be a solo artist. But it didn't work out like that, and I also love to sing lots of musical stuff; I was really good at that, I've got a big voice. I dropped into musical theater and really enjoyed it and I sang for about nine years of my career.
I've sung my whole life. I did a lot of musical theater growing up, I sing in the shower, sing in the car, sing everywhere really, on set at Chuck, all the time. I like it, and I've always felt like I've had a knack for it, or a talent for it, on some level, I don't know.
I was Danny Zuko in 'Grease,' and I was in the musical 'Sweet Charity' and then in the musical 'On the Twentieth Century.' They were great. I mean, singing isn't really my strong suit, but I just really enjoyed it.
Musical theater is an American genre. It started really, in America, as a combination of jazz and operetta; most of the great musical theater writers in the golden era are American. I think that to do a musical is a very American thing to me.
I had been wanting to do a musical for a really long time. I wanted people in New York to know that I can sing.
I auditioned for a musical, and I can't sing. It was a kid's film musical, not a stage show, so I thought I could get away with it.
It's been in my musical DNA since I was a little kid. I think musical theatre has really influenced everything I've done.
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 would love to do stuff on camera. That's what I want to do. It took me a really long time to feel confident as an actor. I think, also, because there's a weird stigma about musical theater where we treat the men who do musical theater differently than we treat the women in musical theater.
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.
I'm somebody who grew up listening to a lot of musical theater, so getting to finally write musical theater songs and songs that sound that way - the emphasis being on the storytelling, but the arrangements and the orchestrations can be really varied - I found that to be, actually, a really joyful discovery.
Louie Bellson represents the epitome of musical talent. His ability to cover the whole musical spectrum from an elite percussionist to a very gifted composer and arranger never ceases to amaze me. I consider him one of the musical giants of our age.
Music and comedy, musical comedy, specifically, really helped me through my childhood. I felt out of place, I felt lots of adversity, and I felt scared all the time.
I think having musical training as a child was really, really important. I studied piano as a child. Piano is a great instrument to understand musical theory on. I think I have that in my brain somewhere.
I've always felt a great affinity with music. I've felt myself to be more of a musician than anything else, though I'm not proficient in any one instrument. But I think I have a musical sense of things... and writing seems to me to be a musical experience - rhythmically and in many other ways.
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