A Quote by Michael Ball
Having grown up in musical theatre, I know what works and what doesn't.
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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.
The theatre starts every night at half past seven, and I like the rhythm of going to the theatre, parking the car, going to the stage door; I've grown up with all of that. I'd love to do more theatre - I mean, I shouldn't be telling the world that I can't remember lines any more, but I find it more and more difficult, so I don't know.
I came to musical theatre from straight acting, and a lot of my friends have a real prejudice about musical theatre - one I probably shared.
Musical theatre goes through cycles. I came in when it was at the absolute height of musical theatre as I remember it. It was the age of the long-runners.
I think, having grown up with the Internet, things like trolls and the world of having an online life as well as a physical one, it's something I've grown up with.
Obviously musical theatre is not my thing, but dramatic theatre is much more up my alley.
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.
It won't be wrong if I say that I've grown up in the theatre and it has grown in me.
I wound up graduating from the Los Angeles County School for the Arts as a theatre major and then was honored to be accepted into Carnegie Mellon's Musical Theatre program.
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 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.
I was a tomboy growing up and then fell into the world of theatre and musical theatre. A girlfriend introduced me to yoga in college and I was hooked. I didn't really know anything about it except that it was the highlight of my week. I ended up graduating from the University of Virginia and moving to Los Angeles where I could continue acting and do a yoga teacher training. I went from practicing once or twice a week to several hours everyday. I loved it.
Suburbia is all about private ownership and not having to share, and it leads to a paranoid, defensive mindset. I know this, having grown up in Essex.
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.
I know I have experience, having worked with the likes of legendary composers like Ilaiyaraaja. And, I've been long enough with my dear friend A. R. Rahman, and we've collaborated on several musical works. All this gives me confidence.
From a very young age, I wanted to get up on stage whenever I went to the theatre - the actors just seemed to be having so much fun. One of my worries about theatre, in fact, is that the actors are quite often having more fun than the audience.
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