A Quote by Renee O'Connor

I think I'll always be a theater gypsy at heart. — © Renee O'Connor
I think I'll always be a theater gypsy at heart.
I think we sublimated our Broadway desires by doing theater in Hollywood - not on stage but by doing the movies of 'Chicago' and 'Hairspray' and also musicals on TV. We did Rodgers and Hammerstein's 'Cinderella' and 'Gypsy' and 'Annie.' Even 'Smash' was like doing theater.
The Gypsy Heart tour is a dream come true. Not only because of all the beautiful cities I will get to visit, but all of the beautiful people I will get to meet. Gypsy Heart is not just a tour for me, but a mission to spread love.
Gypsy dance is never just to be dancing. Instead it seems to be a part of an immense and significant non-verbal vocabulary of Gypsy communication and behavior. It is at the heart of an essential transformation, a transcended state, an escape from the realities of their daily lives to a more satisfying state of mind.
For some of us, the Gypsy years can go on forever ... That isn't such a bad thing. When all is said and done, they're a lot of fun. The truth is, I liked being a Gypsy. It's who I was. And it's still a lot of who I am. Gypsy, it's a good word.
I think any filmmaker will tell you when they wandered from theater to theater to watch their prints, it was disheartening to see the poor levels of light and the disrespect for films that existed in certain theater chains. It was always inconsistent.
I'm a theater guy at heart; I love the theater. I was lucky enough to spend a good decade and a half in the New York theater community.
I've always wanted to do theater in Chicago. Chicago is a big theater town-and, in some ways, I think this city is savvier and smarter than New York. Sometimes, I think it's a little too chic to go to theater in New York these days.
It is very important that people understand how important flamenco is to the Gypsy community. There have been some amazing Gypsy artists. It's important that we give visibility to that, but at the same time people have to be fair and recognise that Paco de Lucia was the biggest guitar player in this style of music in the world and he wasn't Gypsy.
I played the Piccadilly Theater with "Gypsy" and also the Old Vic, and I've done other shows in London, but not for 40 years.
I think America is amazing for its landscape and its history. California is beautiful, New York is beautiful, but when you're a gypsy at heart, it probably suits you to be traveling.
I spent three years researching American Rose, research that included connecting with Gypsy's sister, the late actress June Havoc (I was the last person to interview her) and Gypsy's son, and also spending countless hours immersed in Gypsy's expansive archives at the New York Public Library. I became obsessed with figuring out the person behind the persona.
I've always been into theater and movies. When I was in school, I did a monologue for my talent show. I would go to the local theater. I was always in dance. I was always performing. That was always my thing.
My father's family can be traced back to 1400. I've been told by gypsies that there is unmistakeably gypsy blood in me. Lee is a gypsy name, you know.
Besides, I'm a gypsy at heart and I like to travel around.
It's a certain kind of human compact that obviously you lose as soon as there is a screen and a camera there, so I think we'll always have theater. I think theater will always be a powerful force because we need that human touch, particularly as we spend more and more time with machines, cell phones, computers we start to lose our humanity.
The condition of the theater is always an accurate measure of the cultural health of a nation. A play always exists in the present tense (if it is a valuable one), and its music -- its special noise -- is always contemporary. The most valuable function of the theater as an art form is to tell us who we are, and the health of the theater is determined by how much of that we want to know.
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