A Quote by Richard C. Armitage
I went into musical theatre, which I'm not really cut out for - I'm not as skilled at it as other people.
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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.
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 musical theatre kid, which meant you could always find me singing or dancing in the halls with at least four other people.
I initially told people I wanted to be a dancer and ultimately a "Rockette." I didn't really know what a musical theatre performer was other than the Shirley Temple type.
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 was really, really, really enthusiastic as a kid. I was up for anything. I was hugely into music and theatre. I was a big musical theatre kid; I loved reading.
It's been in my musical DNA since I was a little kid. I think musical theatre has really influenced everything I've done.
There is nothing wrong with loving musical theatre, but I think that it's naive to hold it superior any other musical classification, especially since these other genres have been influencing Broadway more and more in recent decades.
Of course, when you see [ musical numbers] in the movie [Out To Sea ], it's cut into a lot with other scenes, but we shot the number straight through, so here I am doing it, and sitting right in front of me in the audience was Donald O'Connor. And I was, like, "Oh, my God, I can't believe I'm performing a musical number in front of Donald O'Connor," who's one of the greats of the silver screen. But it was a thrilling experience, it really was.
I have mixed feelings about 'Car 54, Where Are You?' Because we shot it as a musical and whoever the studio head was at Orion, or whoever the powers that be were, cut all but, like, two musical numbers out of it. That is the same as cutting the musical numbers out of 'The Wizard Of Oz'; it wouldn't be that interesting.
Free improvisation, in addition to being a highly skilled musical craft, is open to use by almost anyone-beginners, children, and non-musicians. The skill and intellect required is whatever is available. Its accessibility to the performer is, in fact, something which appears to offend both its supporters and detractors....And as regards method, the improvisor employs the oldest in music-making...Mankind's first musical performance couldn't have been anything other than a free improvisation.
I'm trained in musical theatre and 'Pitch Perfect' is the first movie where I get to really belt out. I beat Adele for that role.
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.
I feel like people used to leave their homes and go to their local theatre, and they used to watch ballet dancers and musical theatre performers and tap dancers and orchestras and dog acts. You had to leave your home, be in the presence of other people, know how to behave, and enjoy the human being whose beating heart was in front of you.
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