Top 1200 Broadway Quotes & Sayings

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.

It's probably my favorite part of my whole showbiz experience, is Broadway. The community of Broadway. That feeling that happens every night.

I never intended to go to Broadway. I was very happy being in an Off Broadway theater and having an Off Broadway life. What it did to me is try to fit a round peg - that's me - into a whole bunch of square buildings. I just didn't fit.

When I got to Broadway, I conducted five Broadway shows.

I would love to do a non-musical Broadway or Off-Broadway play.

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.

There was something in Nick, becoming the Broadway star that he was and working from the age of 7, being on Broadway for four years, and then doing the music.

Broadway, in my opinion, is a microcosm of America. Those challenges that we have in our country, I think we still have those challenges on the Broadway stage. I think there are far too few African-American directors working on Broadway.

I do not like the Broadway theatre because it does not know how to say hello. The tone of voice is false, the mannerisms are false, the sex is false, ideal, the Hollywood world of perfection, the clean image, the well pressed clothes, the well scrubbed anus, odorless, inhuman, of the Hollywood actor, the Broadway star. And the terrible false dirt of Broadway, the lower depths in which the dirt is imitated, inaccurate.

I'm the journeyman actor that you saw in one scene here, two scenes there. I've been eking out a living doing theater - Broadway, Off Broadway - film supporting roles, that I'm just excited to be a part of the conversation.

I think 'Hand to God' is going to change the landscape of Broadway. I think Broadway, truthfully, will never be the same.

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.

That's always - that's been another dream of mine, to do a Broadway play. An award winning Broadway play.

I always wanted to be a Broadway star. That's actually what I wanted to be when I was a kid. I wanted to be the 19-year-old sensation on Broadway. It took a little bit longer than that.

If I thought about it before I went on, I would have never went on. So, therefore, you don't think about it; you have to talk yourself then into, 'Listen, this is it. This is the gig. Broadway or no Broadway, you've got to do your job.'

Making my Broadway debut was, in and of itself, just a dream come true. I've wanted to be on Broadway forever.

I can't tell you the thrill and joy of when I was cast in my first Broadway show. Granted, it was 'Starlight Express' and it was exhausting, but it was my first time on Broadway, and there was nothing like it.

I would love a career on Broadway. It's always been my dream ever since I was a little girl and some of my biggest idols are on Broadway right now, like Melanie Moore and Ricky Ubeda.

After I graduated, I tried Broadway, which was difficult for me. It was tough to get a part on Broadway, so I just started talking to audiences at different social gatherings, and little by little I became Don Rickles - whatever that is.

Hip-hop was indifferent to Broadway. We didn't need Broadway, but I think Broadway needed hip-hop.

I miss Broadway, what little there is on Broadway now.

The financial side of Broadway is the easy part. Plenty of people want to put money in a Broadway show. The challenging part is finding the material that excites me enough to spend a couple of years of my life devoted to it.

Some of my best friends have written Broadway shows. Allee Willis and Brenda Russell wrote The Color Purple which has been recently revived on Broadway. That to me is such a different hat that you have to wear, but music is music. A Broadway show is something I would love to have the opportunity to do.

I wanted to be a therapist if the acting didn't work. I also did a lot waitressing and odd jobs. I'd audition but couldn't get hired to save my life. I'd do Off-Broadway theatre and that was great and I was excited and thrilled, feeling like, 'Well, it's Off-Broadway, but there's still the Broadway in there.'

I'm not a person who believes that Broadway is the only place. I think there's lots of work that goes on outside of Broadway and outside of New York that's better than anything Broadway has ever seen. But, it's historically the place. It's one of the centers of the universe, in many ways.

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.

Christopher Walken was probably the most experienced dancing partner I've had in movies, because he has the same background as I do. He's from theatre, Broadway and off-Broadway, and we both shared that.

I'm extraordinarily honored and proud when I am told that I am part of the Broadway community and part of the Broadway family. Because, Broadway is a family. And it doesn't matter if you did one show or if you did fifty shows.

My early days in Broadway were all comedies. I never did a straight play on Broadway.

Especially on Broadway, composers and lyricists fretted over their creations, obsessed over every rhyme, every critical chord or interval. The stakes were so high. On Broadway, people were watching and judging, especially newspaper critics who knew a thousand ways to slice and dice a songwriter for the entertainment of hundreds of thousands of faithful readers. There was no anonymity for the Broadway songwriter. Even the best could find themselves stripped naked the morning after by the tastemakers and their readers.

All my roots are Broadway. I got my Equity Card doing a Broadway show, and my first love is theater.

When I was on Broadway, my most recent Broadway show was 'Spring Awakening,' and every night I did a topless scene.

I've been in this business 25 years. I've been eking out a living doing Broadway, off-Broadway... I've seen the unemployment line a lot.

People see a lot of huge stuff on Broadway, but there's always Off-Broadway energy and also shows that you can work in.

You hear about Broadway your whole life, and I learned what it meant to work on Broadway in 'The Phantom of the Opera.'

I had been coming to New York, pretty much once a month, to dance on Broadway. I was offered a huge Broadway show but couldn't do it because my brother was having his huge Bar Mitzvah.

I've been asked a lot why didn't 'Ruined' go to Broadway. It was the most successful play that Manhattan Theatre Club has ever had in that particular space, and yet we couldn't find a home on Broadway.

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.

I remember telling the agent, 'I don't want to do anything but Broadway.' She was like, 'That's not really possible because there is not that much Broadway. So I'll send you out on TV and stuff like that.'

I'd love to do Broadway. It's funny. I love it, but I've never actually seen an actual Broadway show, not even 'Hairspray.'

Broadway has a lot more razzle-dazzle than the West End. In terms of the everyday work routine, it's not different, but there's a cachet about Broadway that lends itself to more anticipation among audiences.

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.

My grandmother took me to a lot of theater. I was exposed to performance quite a bit - everything from Broadway to off-Broadway and dance and music as well. I was very lucky that way. It was a very rich childhood.

Broadway is not about surprises. It's about rewarding the putrid, formulaic crap that makes Broadway Broadway.

It took me a while to figure it out, but to have a real hit on Broadway, you have to get the respected Broadway people to like it. But then the production also has to appeal to the most middle-class people who know nothing about Broadway and who come to see it later.

My aim is to bridge Broadway and the R&B world; and to bring all my Broadway experience to the R&B world; and one day, when I go back to Broadway, to bring some R&B to that.

I did 'Fences' off-broadway at the Beacon Theater, so it's amazing that Denzel Washington and Viola Davis brought it to Broadway.

The only thing I have never done is a Broadway play. I'm not sure I have the discipline necessary to do a Broadway play. I know it holds a fascination for certain actors.

The Broadway community is unlike any community in show business and it is unlike any community in the world. When you come into the Broadway community they open the door and they say "welcome". Not only do they do that, but when times are really tough and horrendous things have happened and really tragic things - the Broadway community shows up! And they say "how can we help?".

'Broadway Bound' is near and dear to my heart, as it was one of my happiest times on Broadway.

There is definitely that thing here a little where people are like 'Oh that Broadway girl has come to Nashville' and I'm like 'Listen you guys, I was singing country before I even got a Broadway show. And I'm from Kentucky.'

The chance to work on Broadway choreography as opposed to having to deliver Broadway choreography can be two distinct things.

'Turn Me Loose' was Off-Broadway, and now we are making a concerted effort to figure out how to get it to on Broadway.

I was in 'Grease' on Broadway, toured with 'Wicked,' was off Broadway a couple of times and have been a part of numerous readings and workshops.

When I'm writing Broadway, it's for a character, a man, a woman, an old guy, a kid. In the band, you're talking in your own voice in the lyrics, saying what you think or feel. On Broadway, you're expressing that through a character.

If you don't go to Broadway, you're a fool. On Broadway, off Broadway, above Broadway, below Broadway, go! Don't tell me there isn't something wonderful playing. If I'm home in New York at night, I'm either at a Broadway or an Off Broadway show. We're in the theater capital of the world, and if you don't get it, you're an idiot.

During the winter of 2013, we were running 'Comet' up in midtown - as opposed to downtown - and across the street in the Standard, and that was, like, our third time going at it, from Ars Nova to downtown to near Broadway. We weren't on Broadway. We were near Broadway, as we said.

I'm always going back to New York for Broadway workshops or reading. So I always keep my foot in the door: I'm always on the lookout for the next Broadway show.

I remember doing Broadway, I started Broadway in 2005, and, of course, I sing two songs in the play, 'Hairspray'.

To be totally honest, I thought I would have a Broadway debut in the distant, distant future, maybe in my 60s or 70s when somebody revived one of my off-Broadway plays with a star.