A Quote by Randy Rainbow
My mother was majorly into musical theatre - that's how this happened. That's how I became the gayest person in the world.
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Tiny Cooper is not the world's gayest person, and he is not the world's largest person, but I believe he may be the world's largest person who is really, really gay, and also the world's gayest person who is really, really large.
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'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 had originally planned to do musical theatre and be on Broadway, but then my love for poetry also set in. Once that happened, I became torn between a career as an English teacher or a music teacher.
That's how I became the damaged party boy who wandered through the wreckage, blood streaming from his nose, asking questions that never required answers. That's how I became the boy who never understood how anything worked. That's how I became the boy who wouldn't save a friend. That's how I became the boy who couldn't love the girl.
How to you teach someone that a theatre comes about first as an idea, from an individual who has a philosophy and a passion? That a theatre's idea is its heart and individual soul? That the person who creates it must have the desire not only to create work, but also to create the conditions in which that work can live-and in which others can do it as well? How do you teach someone to want to be a midwife as well as a mother.
I'm always fascinated with how a person becomes a good quality person, a productive person, and how it happened to me, because I was a terror.
I think the genre of musical theatre, when it started, the pop songwriters of the time were writing the music. I think sometimes when we write musicals now, we keep writing in that same style, as though that's the musical theatre genre... We have to figure out how to tell stories with the music that we listen to now, or we'll lose our audience.
Common sense, to me, is simple. And I've never understood why there aren't a lot of people trying to figure out how the United States became this special place and then try to replicate it around the world, because that's the solution to the human condition. The solution to poverty, the solution to misery, the solution to backwards living is the United States of America. Why not learn how that happened, learn why and how we happened. What is it that made it special?
But if something did happen, it happened. Whether it's right or wrong. I accept everything that happens, and that's how I became the person I am now.
In 1969, I wrote a musical called 'Mother Earth.' It was a rock musical with an ecology theme. We did it at the South Coast Repertory Theatre in Southern California where I was a member. It was a smash hit in this small theater.
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 believe the person who was out conquering the world, who was out fighting in the world were our fathers, so to have them come... I adored my father more than anyone in the world, but my father had more advice on work policies and how to get a job and how to survive in the work environment than my mother because my mother never worked outside of the home. So I think the support of fathers is very important.
What was so extraordinary to me about going through this box of my mother's letters and diaries was meeting my mother not as my mother, but as a real person. And what breaks my heart is that I had no idea how self-aware she was and how protective of me she was.
It was like wondering how evil had come into the world or what happens to a person after he dies: an interesting philosophical exercise, but also curiously pointless, since evil and death happened, regardless of the why and the how and what-it-meant.
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