A Quote by Megan Hilty
I have to say, speaking from experience, just because an actor starts out in a role in the workshop, they won't necessarily play it when it goes to Broadway.
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I have finished school and so it's becoming a real job, and as an actor, you cannot always just play roles. To me, it's important to live, to be who I am and then to get out of that, because when you play a role, it's always a bit of yourself. Okay, you can get some things, but that's why it's so important to gain life experience in order to act - it's important to care about this.
I think typically you'd start in a supporting role or an ensemble role, or maybe even an off-Broadway role. So to come into a lead role on Broadway, especially taking over a role that has been played by two phenomenal actors in the past, that is some large shoes to fill.
It's nowhere near as intense as what I imagine an actor experiences backstage, but I feel a fluttering nervousness before a curtain goes up on a play. I mean, any play, anywhere - on Broadway or the Bowery or in a church basement.
I have no problem having any actor from anywhere play a role. I'm excited for any actor that gets a job, I truly am. Even if it's a role that I'm up for and I don't get it, I never begrudge any actor having it work out for them.
The play I did on Broadway a couple of seasons ago started out of town and it moved its way into New York because of the experience that we had out of town.
I don't have one specific dream role: I'm an actor, so I want to play everything. In this business, they'll pigeonhole you in two seconds if you're great at the role you play. Everyone assumes that you're really just like that character.
I'm the journeyman actor that you saw in one scene here, two scenes there. I've been eking out a living doing theater - Broadway, Off Broadway - film supporting roles, that I'm just excited to be a part of the conversation.
Now if you expand their choice set. Say you give them 20 different speed dates, everything goes out the window. Everybody starts choosing in accordance with looks because that becomes the easiest criteria by which to weed out all the options and decide "So who am I going to say yes to?"
My long-term goal is to play a drag role or a female role in a Broadway production.
Every director is always directing around the play. If you have an actor who really doesn't get the character well enough, you have to direct the play around that character. You have to make choices with that actor. If you have an actor that really doesn't get the role and has certain visions of the role, sometimes you have to direct around that actor.
I do not like the Broadway theatre because it does not know how to say hello. The tone of voice is false, the mannerisms are false, the sex is false, ideal, the Hollywood world of perfection, the clean image, the well pressed clothes, the well scrubbed anus, odorless, inhuman, of the Hollywood actor, the Broadway star. And the terrible false dirt of Broadway, the lower depths in which the dirt is imitated, inaccurate.
The musicals on Broadway have not necessarily been true musical theater. I'm speaking generally, of course: I saw 'Spring Awakening,' and I was completely inspired by that.
I've never been turned down for a role because I'm gay. I'm a character actor, and that's probably why. I don't find Hollywood, in my own experience, to be homophobic. ... But I do think the straight folks will continue to play the straight roles.
I don't play any role; I just play golf. I love the competition. For me, the pleasure begins on Thursday morning when a tournament starts. I come along and try to win. And that's what I enjoy.
Cinderella is making her Broadway debut. It's an honor to step into that position and, in that way, I am creating a role because it's never been done on Broadway. I feel so honored.
I got out of college and I went to get my master's in creative writing at San Francisco State. I was working as an actor at the Actor's Workshop, being abused as a intern.
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