A Quote by Theresa Rebeck

Because I'm an American woman, and I write straight plays, it's always been sort of assumed I would never be done on Broadway. But that was never the goal. — © Theresa Rebeck
Because I'm an American woman, and I write straight plays, it's always been sort of assumed I would never be done on Broadway. But that was never the goal.
Broadway's never my end goal because of the plays I write. These are tough plays. Of course there's a lot of humor, but my goal is just to reach as wide an audience as possible, however that happens.
I have always wanted to do Broadway, my whole life, but I never knew I'd actually make it - it's a dream; it's never been in the realm of possibility. So to be doing 'Hello Dolly!,' it's not just Broadway, but it's the most joyful, sort of classic Broadway experience with the most extraordinary company.
I absolutely love what I do. And I want to dance for as long as I can and feel good about what I'm putting out there on the stage. But my goal has always been to be a principal dancer with ABT. Before I knew that there had never been a black woman, that was always my goal. I wanted to dance Odette-Odile and Kitri and "Don Quixote" and Aurora in "Sleeping Beauty." So that's still my goal. But knowing that it's never been done before, I think makes me fight even harder.
Cinderella is making her Broadway debut. It's an honor to step into that position and, in that way, I am creating a role because it's never been done on Broadway. I feel so honored.
By the time I started writing plays, Broadway was never an expectation, so it's never been central.
I've always loved Broadway, but I never thought I'd actually do it because I was never a full Broadway dancer. And I don't have a big, booming voice.
Honestly, people told me to. It was weird, I graduated from school, I never thought I'd live in L.A. and I always wanted to be to New York. I assumed that would be my trajectory - that romantic ideal of moving there and doing plays Off-Broadway and being scrappy about it. Then we did a showcase in New York and a showcase in L.A., and for whatever reason the response that I generated in L.A. was significantly more enthusiastic.
It is never appropriate to comment on a woman's breasts. I would never do it on the street or at a supermarket, but when I'm sitting a table signing books, sometimes I notice that a woman will have remarkable breasts. And I will maybe quietly say something about it. It's not in a sexual way, because I'm a gay man - I would never say to a man "great ass" because that would be sort of creepy.. I hope it's not creepy to quietly tell a woman she has nice breasts.
Yeah, I feel sort of unfinished in New York, even though I spent so many years there. I think it's because I never got a chance to do any Broadway, or even off-Broadway. I would love to do that and I haven't given up on that.
I'd always done musicals, and so living in the world of straight plays and working with off-Broadway actors and living in that community was a completely life-changing experience.
I never assumed I would have that commercial success, so it was a total surprise. And honestly, I never assumed that it would ever happen again.
My goal is two pages a day, five days a week. I never want to write, but I'm always glad that I have done it. After I write, I go to work at the bookstore.
My early days in Broadway were all comedies. I never did a straight play on Broadway.
The commercial theatre may still be considered one of New York's primary tourist attractions, but . . . there is no longer an audience for serious Broadway plays. . . . Perhaps we should acknowledge that, having lost its traditional audience, Broadway can never again be a home for new plays.
I don't have regrets. I've never sat here and thought, 'Gee, if only I'd done 'The Man Who Came to Dinner' on Broadway, I would have been happier.'
My plays aren't stylistically the same. Just being an African-American woman playwright on Broadway is experimental.
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