A Quote by Nell Carter

Oh, I miss the excitement and immediacy of Broadway and the theaters. — © Nell Carter
Oh, I miss the excitement and immediacy of Broadway and the theaters.
I sometimes miss the sense of excitement that I remember having when I was younger. I miss that sense of, 'Oh wow.' I think it's part of aging.
There have been several television movies, 'Carrie 2,' two musicals! I remember thinking, the first time there was a musical on Broadway, 'Oh my gosh! The people who ordinarily go to the theaters, that's not really the audience.'
Lord, what if I miss You? What if I miss You? What if I miss You? Oh, I'm so scared! God, what if I miss You? He answered simply, "Joyce, don't worry; if you miss Me, I will find you.
The only difference between fear and excitement is what we label it. The two are pretty much the same physiological/emotional reaction. With fear, we put a negative spin on it: "Oh no!" With excitement, we give it some positive english: "Oh, boy!"
I miss Broadway, what little there is on Broadway now.
If you don't go to Broadway, you're a fool. On Broadway, off Broadway, above Broadway, below Broadway, go! Don't tell me there isn't something wonderful playing. If I'm home in New York at night, I'm either at a Broadway or an Off Broadway show. We're in the theater capital of the world, and if you don't get it, you're an idiot.
I miss the fears. I miss that. I miss going over the middle and not knowing if I'm going to make that play. I think that's the part of the game you miss the most, that excitement of it. Then you think of the physical part as a retired player and I'm like, 'hell no.'
You make more money in dinner theaters than on Broadway.
In 1985 I graduated from Deshler High School in Tuscumbia, Alabama, and I was their first African American homecoming queen. You would have thought I won Miss America or Miss U.S.A. (wink), because of my excitement.
I do miss the excitement of seeing history up close, of having intimate knowledge, through direct experience, of what happens when people and governments clash, but I do not miss the danger or the constant displacement.
There is definitely that thing here a little where people are like 'Oh that Broadway girl has come to Nashville' and I'm like 'Listen you guys, I was singing country before I even got a Broadway show. And I'm from Kentucky.'
There is a problem on the so-called commercial stage in New York. The price of a ticket is exorbitant, and there are no longer original productions possible, apparently, on the commercial stage. They are all plays that were taken from either England or smaller theaters, off-Broadway theaters, and so on. The one justification there used to be for the commercial theater was that it originated everything we had, and now it originates nothing. But the powers that be seem perfectly content to have it that way. They don't risk anything anymore, and they simply pick off the cream.
Opera was the cinema of its time, so to bring back that popular appeal, you just need to unleash its visceral immediacy and excitement. Most productions don't manage that - but when an opera does do it, you never forget it.
Sure, I miss some things about the stage. The thing I like is the immediacy. But then I complain, 'I gotta do the same part for six months.'
Redefine you. Oh God, life is so beautiful. Don't let it pass you by. Don't miss it. Don't miss it.
The Globe is a missing monument. There's no existing example of a theater from Shakespeare's time. You have Roman theaters, Greek theaters, all kinds of theaters, but none in which the plays of Shakespeare, Ben Jonson and Marlowe were performed. Scholars feel that it would be of immense value to have one.
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