A Quote by Zac Efron

Being known for musicals is a great thing. — © Zac Efron
Being known for musicals is a great thing.
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.
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.
There's a lot of great, talented, passionate musical theatre practitioners and directors here. But it's very hard to suddenly start building great musicals in a town like Sydney where there hasn't been any great musicals built.
The great thing about musicals is that they transcend race.
Pollock was well known, certainly, but for all the wrong reasons. He was known as much for being wild and unconventional in his working methods as for being a great artist.
My view is that musicals are love stories with great final scenes. It's just that simple. Musicals are also conflicts between two worlds. And by those criteria, 'The Color Purple' is actually exactly the kind of story that makes for a great musical. Yes, it's got hard stuff in it, but so does 'Les Miserables' and 'Phantom of the Opera.'
I've been fortunate in my career to have performed in revivals of great musicals and to have originated roles in musicals that have in turn been revived. And I'm not dead!
It's a great experience just to understand that finally being well known is not the most important thing.
I never pursued voice hard enough. I've done musicals here and there, but I was never dedicated to really being one of these fantastic, operatic kind of singers that you have to be in some of these musicals.
All the more a cheesy musical seems fake, so it requires a level of honesty to be injected or an acknowledgement of that which is fake and fun about musicals, and it isn't necessarily escapist. Like there are great musicals like Once, which feel very almost like a mumblecore musical. I love Once. It's great.
I wasn't that great in sports. I started doing children's theater and loved it. I thought I had a great thing going with musicals. I thought, 'I can do this. It's fun.' I wanted to go for it, and I thought I'd like to make a living doing this.
Love is a vulnerable thing. Falling in love is like a great drug. But then to really be known and really let someone else be known is very vulnerable. It's a weird thing.
When my daughter was younger we showed her all the great musicals. And the great dramas and great comedies, and the one that she took to the most was Some Like It Hot.
Our world was Northern, black and white, so it was a great thing for my sisters and me to sit down at Christmastime and watch these fabulous MGM musicals. All that color, all those beautiful costumes.
Musicals are — particularly musicals — plays also, but musicals particularly are… the last collaborator is your audience, and so you’ve got to wait ’til the last collaborator comes in before you can complete the collaboration.
Everything has to be intrinsic plot-wise in the same way, to use the Linda Williams analogy but to move it on a bit, as musicals - in old musicals, like in an old Cole Porter musical, you get the action, then they do a song, which reflects a moment - everything stops while that is being sung - and then you restart. These days in most musicals, the plot keeps moving through the song. I think it would be nice if someone constructed some pornography where the sex continues to propel you through the story.
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