A Quote by Richard Foreman
Because even at the age of fifteen, I used to go see all the Broadway shows and feel that they were sentimental, that they were pandering to the audience and trying to manipulate the audience. I had no use for practically any of the shows that were hits.
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Science and technology were often used by [the magician of old], even before they came into the marketplace on a mass basis. For example, prior to the moving picture going into theatre, magicians were using the technique of images in motion as illusions in their shows. At that time the process was so new, an audience perceived it as magic. Also in the early stages of holograms magicians would use these images to baffle and mystify their fans. Hence, you always need to stay one step ahead of the technology game to "WOW" the audience.
That was mandatory in the contract with Aaron Spelling, that if you were contracted to do one of his shows, you had to do any other shows that were his.
In '92, I got my first Broadway show as a performer - 'Crazy for You.' I was in the ensemble. In fact, I was in eight Broadway shows as a dancer. Seven of them were original shows. That's how I learned to create something from the ground up.
Though I acted in hundreds of productions, appeared at the Guthrie Theatre and on Broadway in Amadeus, I discovered in my thirties that I didn't really like stage acting. The presence of the audience, the eight shows a week and the possibility of a long run were all unnatural to me.
When we were doing noisier shows, they were fun, but we were trying to be really obnoxious and it wasn't like we were trying to make good music. I mean, I'm happier when we have smoothed out a little bit. I think that the spirit of the noise and experimental stuff is still there, but it's easier to do when you're a freshman in college.
I have been steadily exchanging a rock audience who were nervous about what they had just bought for a jazz audience who not only were happy with their purchase, but are increasingly coming again.
Just as I was turning fifteen, in the spring of 1946, my parents took me to see 'The Glass Menagerie,' well into its year-long run. I had seen a number of shows on Broadway by then, but nothing like this - because there was nothing like this on Broadway.
I used to play Saturday night shows with different little groups. If I could get a show, I would do it. I used to do mad things - I used to go and do these shows and go on my knees and roll on the ground - when I was 15,16 years old. And my parents were extremely disapproving of it all. Because it was just not done. This was for very low-class people, remember. Rock & roll singers weren't educated people
I love every aspect of live performance and putting our shows together and approaching it from the standpoint of, 'What would we want to see if we were a fan sitting in the audience?'
Once we were a part of Equity, we were able to get a salary, and then because we were employing ourselves, we just made sure we were always working. We put in hours to get subscribers. We used to do little shows at rich peoples' houses to get them to give us money.
It's weird because we live in this age of reboots. Everything is getting rebooted: 'The X-Files,' 'Twin Peaks.' We have shows like 'Gravity Falls' that were inspired by these shows, that are now ending and being followed up by reboots of the shows that inspired them.
You used to have those Saturday morning television shows. You had to do your bit. You had to go on and promote your new release. I quite enjoyed it, actually. You had the parents watching them, and they must have liked what they were seeing, so they'd encourage their kids. And then they'd end up bringing them to the shows.
Me and my friends in high school were the only girls who went to hardcore shows. It was three of us, and the rest of the audience was male. We didn't really think about it. We weren't thinking we were alienated or whatever, but eventually, as there started to be violence in the scene we were in during high school, we started to be turned off by the violence.
To me, being brave is an element that is so important with stand-up comedy. It's not essential. There are many comics who were just funny, and that's fine, too. But that's never been what I was trying to do in comedy. I was always trying to do something that involved not pandering to the audience.
Broadway has changed tremendously from the early days when the shows were referred to as musical comedies. Musical Theater is now a more expanded art form. Back then, singer/actors were not the norm. From the 60's to now, it is necessary to do it all to be a consummate Broadway performer.
There are panel shows that struggle to get women on, and that's because the women feel marginalised and stupid and in the edit are often seen just laughing at the boys and not saying anything at all even though I know for a fact in the recording they were clever. I'm not shy at speaking up, but even I, on those shows, am silenced.
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