A Quote by Robert Lopez
I'm not really a 'puppet' person in particular; I think they are very theatrical, and I've found different uses for them in shows, but my true interest is in writing Broadway musicals.
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There are no large-scale original musicals being made right now. They're all Broadway adaptations and jukebox musicals or catalog musicals, and they just don't interest me as much.
I used to do puppet shows as a kid - me and my brother would do them - and then any poor soul who came into the house had to sit and watch our puppet shows.
I was always drawn to Broadway musicals, and obviously composers like Gershwin, Rodgers, Berlin and Porter were writing music that I found wildly impressive.
I don't think I've got the stuff that Broadway musicals are made of. But there are definitely many musicals that I enjoy. 'Hair' and 'Rent' might be my favorites.
And I don't consider Broadway the acropolis of theatrical art. I mean Broadway is commercial - that's what it is. It's expensive seats and a lot of them that have to be filled every night. Off-Broadway and off-off Broadway as far as I'm concerned is in New York the pride of New York theater.
And I don't consider Broadway the acropolis of theatrical art. I mean Broadway is commercial - that's what it is. It's expensive seats and a lot of them that have to be filled every night. Off-Broadway and Off-Off Broadway, as far as I'm concerned, is in New York the pride of New York theater.
One time, it was really funny, I was going on stage... and they were like, 'Oh, we didn't mic the puppet! Mic the puppet!' So, that's how I know that sometimes I do a very good job, because they think that the puppet is actually, like, real.
I was in musicals. and I was in the choir when I was younger. Before I started writing my own songs, I thought I wanted to be on Broadway, but it was nothing I ever really pursued.
I love musicals but it's very, very different. It's really just a different form than serious drama, and has very different rules and a completely different set of characters and requirements and ambitions. It maybe shouldn't be as separate as it is, but it's got a different history. In terms of serious drama, I think you'd have to say that you could break it down essentially into the narrative realist tradition and experimental theater.
The only stuff I don't like are Broadway musicals. I hate them. I don't even like to talk about it. I can't bear musicals.
I was in musicals and I was in the choir when I was younger. Before I started writing my own songs I thought I wanted to be on Broadway, but it was nothing I ever really pursued. So this was pretty out of the blue.
Most musicals are informed by very rigid archetypes. If you get a very sophisticated mind writing them, you sense something else, but it's a folk-art form, really, at its best. At different times, I've tried to push against it as much as I possibly could, but ultimately, it is a folk-art form.
Most musicals are informed by very rigid archetypes. If you get a very sophisticated mind writing them, you sense something else, but it's a folk-art form, really, at its best. At different times I've tried to push against it as much as I possibly could, but ultimately it is a folk-art form.
I'm very aware of the fact that Broadway musicals being brought to the screen are very few and far between, and it's important to continue that relationship between Broadway and film. It's a privilege and an honor for me to be instrumental in some way in keeping that alive.
I was fortunate enough to work at the peak of the great golden age of musicals. And then for awhile, I think they were being advanced in different ways. Andrew Lloyd-Webber brought the rock beat to musicals; people tried different things. The joy of musicals is that there is no perfect recipe; it is what you throw into it.
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.
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