Top 1200 Broadway Quotes & Sayings - Page 16

When 'Catch Me If You Can' was published back in 1980, I never dreamed that it would become a bestseller, much less a major motion picture and now a big Broadway musical. What's amazing about the book is that it has never gone out of print.

At 21, my career took a comedic turn when I was cast in a new Broadway play called 'Brooklyn Boy,' by Donald Margulies, which was equal parts funny and sad. I realized that the more seriously I expressed my character's feelings, the funnier the scene became.

Travel by air is not travel at all, but simply a change of location; so my wife and daughter and I went to San Francisco by train, leaving Boston on a Wednesday morning in June and, then after lunch in New York, boarding Amtrak's Broadway to Chicago.

Being on Broadway is the modern equivalent of being a monk. I sleep a lot, eat a lot, and rest a lot.

I want to make 'Broadway' a word that doesn't have pejorative connotation. I don't want 'musical theater' to be a dismissive term. I want it to be something that people can be proud of, that people can say, 'Look at the possibilities.'

I think the thing's that perhaps sad really is that younger people haven't come in and I think it must have been absolutely fantastic to have worked in the 50's when you had all of the great Broadway composers and when West Side Story didn't win the Tony Award.

I know, for me, you know, my generation - I never would have known anything about Robert Preston's performance in 'The Music Man' if there hadn't been a film where he played the part. I just heard how great he was on Broadway way before my time.

Always drawn to the theatric, Bowie also performed in stage productions of "The Elephant Man" and just recently collaborated on "Lazarus," an off-Broadway musical that's a sequel to his 1976 role in the film "The Man Who Fell To Earth."

It might be odd for people to hear this, but honestly, you know, when you're on stage, I don't think people realize how grueling eight shows a week is. And as far as jobs go, being a Broadway actor, it's hard. It's fun, but it's hard.

Even before Pentatonix, I always thought that I would be out here in New York doing Broadway and doing musical theater. That was what gave me the passion for music in the first place, so it's been really, really, cool.

There's something about being a part of Broadway and going backstage. You know, like when I go to see a show now and going backstage and saying "Hi" to the cast. It's so thrilling. It's so beyond my wildest dreams from when I was a kid.

I feel like I've been hit by a car every night, that's how I feel emotionally after The Race show. But it is a complete dream come true. For me growing up in New York all I ever wanted to do was Broadway.

I remember dreaming about it, about being on TV. I remember seeing Children of a Lesser God on Broadway. I was sitting in the second or third row, and I was just so blown away, and I walked out saying, ‘That’s what I want to do.’

I was repeatedly told that there isn't an African American woman who can open a show on Broadway. I said, 'Well, how do we know? How do we know if we don't do it?' I said, 'I think you're wrong.'

'Bonnie and Clyde' was the first show and the first role that I got to originate. Being part of that from the ground up and investing three years of my life into seeing that show come to Broadway was really rigorous but also so exciting.

Broadway is a definite symbol of New York. It's classic New York.

I'm unable to do the thing that Broadway actors do in plays, sometimes for years. The same exact blocking, the same exact lines. I'm a little bit uncomfortable with that. Every night I'm looking for ways to try something else.

I made my drama teacher cry. I only took drama to get out of writing papers in English and the teacher was this thespian Broadway geek and here I was this Italian guy from Staten Island and I would put her in tears.

Broadway needs to let go of any fear that it won't succeed and take a knee. There's this rhetoric about being grateful and happy that you're getting paid for your art. We are told to put our own stuff aside, but doesn't everyone have a job they should just shut up and do?

I spent a lot of time in the trenches in New York doing a lot of off-off-off Broadway theater.

For two consecutive Broadway seasons, I had probably the best juvenile roles there were for an actor. Then I moved to California to recreate my role in the film version of 'Tribute.' I started working in film and television after that, and 38 years blew by!

I definitely want my career to continue to branch out. I've had the pleasure of working in different areas of entertainment, from being in the music business as a teenager in a girl group to doing Broadway for three years in 'Hairspray,' and also doing TV and film.

I did 'Lone Star Love' in 2007 with Randy Quaid, and that was supposed to come to Broadway at the Belasco and a marquee went up and everything... and it all fell apart, and that marquee came right down, and we got severance pay. And, it was very sad.

I remember when I was doing The Crucible on Broadway with Laura Linney, and Arthur Miller had been in rehearsal with us and was on stage on opening night. She turned to me during the curtain call and said, Lets make sure we remember this.

I own four copies of Robin WIlliams's Live on Broadway comedy special for HBO. One in Wilmington, one in L.A., one in my trailer, and one at my parents' house. I can watch it over and over again and it never gets old. He is the funniest, wittiest man on the planet!

If Broadway no longer seems behind the times or ahead of the times, it may be because there are no 'times' anymore, no prevailing Zeitgeist that sets the fashion, pace, and prevailing look.

My new play 'Chinglish,' which will go to Broadway, is about a white American businessman who goes to a provincial capital in China, hoping to make a deal there. It's bilingual. And it's about trying to communicate across language and cultural barriers.

The MTC is known for singing music by great master composers, hymns, American music, Broadway numbers, popular songs, and inspirational music. If the audience doesn't like one genre, they need only wait for the next number.

I was pre-med in college, and so since a lot of people take a year off before they go to med school, I decided to take the time to pursue theater - six months later, I was on Broadway.

Theater in New York is nearer to the street. In London, you have to go deep into the building, usually, to reach the place where theater happens. On Broadway, only the fire doors separate you from the sidewalk, and you're lucky if the sound of a police car doesn't rip the envelope twice a night.

Luckily for me, when I was growing up in high school, I had a band, and I was a singer in the band. I'm less of a legit Broadway singer than I am a pop-rock singer.

I feel like I've been dealing with that building over the years because of the Broadway community, so I'm treating it in the same way - I've always tried to keep my personal life private. I didn't get into this business for notoriety or fame. I don't go to places to be seen and that's not going to change.

Secretly, I'm in awe of Broadway performers. I would love to perform at that level. I love the exchange with the audience. I love being able to sing and dance to express your emotions and the community and friendships that are formed when working on a theater piece.

I was in a Broadway musical called Big Time Buck Wright.The play didn't make it but I was a success. It lasted six days but I sung four songs and there were critics, seriously, in New York who said that my part was perfect. So I can beat Joe Frazier singing.

I would absolutely be interested in doing a Broadway production if it was the right project. But my dream is to be writing pieces of theater for my best friends and putting on plays in New York City and seeing our vision come alive. I just hope to always be creating.

The Depression was remarkable because you had nothing, and the salaries, when you got a job, were very small. But you could do anything. You see, a donut was ten cents. A cup of coffee was a nickel. That was lunch, with an apple. And I would be playing a lead on a Broadway show on that kind of diet.

I have seen Hollywood artistes like Al Pacino, Tom Cruise and Tim Burton doing theatre and Broadway shows. Cinema actors tend to go back to theatre because it gives them an opportunity to reinvent themselves.

I was pretty new to the Broadway world once I began working in it. I hadn't really grown up being too aware of that many shows or that many actors in shows. I was always obsessed with Judy Garland, though.

[Vincent Price] did Oscar Wilde on Broadway, and I think he probably did it because he was almost like an Oscar Wilde. He had that brilliant humor.

When I did 'Grease,' I took good care of myself. I treated it like a job. I approached it very professionally because I wanted to make a good reputation and hopefully continue on in the Broadway community and continue to do shows.

American Ballet Theatre's rehearsal studios are at 890 Broadway, an old building where exposed pipes clank and hiss in uneven accompaniment to piano music. The high ceilings wear a toupee of dust. The wall paint peels like a newbie ballerina's toes.

In coming to New York, I got my first Broadway show six months after I got here. So that song, 'Movin' Too Fast,' means so much to me, knowing that feeling where it's just where you imagined yourself, but it's flying by you at a million miles an hour.

If Broadway was a river running from the top of Manhattan down to the Battery, undulating with traffic and commerce and lights, then the east-west streets were eddies where, leaf-like, one could turn slow circles from the beginning to the ever shall be, world without end.

I've been lucky enough to get a taste of the feature film world, the TV world and Broadway, as well, and see what everything is like. For me, it's very much about the character and how different it is from something I've done earlier.

I was doing a Broadway musical called 'Smile' with Howard Ashman and Marvin Hamlisch in 1984/5 when it abruptly closed. Howard was in the middle of pre-production for 'The Little Mermaid,' so he kindly invited all the girls in our cast to audition for the film.

Great as my dad was - I would never have gotten my first job announcing if I didn't have the last name Buck - it's my mom, Carole, who has made the biggest difference. She was on Broadway back in the 1960s. She understands entertainment, has incredible instincts.

It was 1976, and I was acting off-Broadway with a pair of Canadians: Victor Garber and Gale Garnett. The play was called 'Cracks,' and Martin Sherman, the man who wrote it, went on a few years later to have a giant hit with 'Bent.' But not this time around. Opening night was a disaster.

Every year I go to Broadway to see a musical - I like the music. I saw 'Mamma Mia;' I saw 'Les Miserables;' I saw 'Phantom of the Opera' like six, seven times.

I love music. I'd love to go on Broadway and do a musical there. I just like to kind of go with whatever's inspiring at the moment, and kind of follow that as far as I can.

I want to get the point across that you may not have money to give to a charity, whether that is Ronald McDonald House or Broadway Cares or DIFFA, but you can help RAISE money or give your time and talents.

Some people get a Broadway show, and that's their end game, and they want to sit there for as long as possible. And some people have other things they want to do with their life.

But as far as dream roles - I know this is so expected of me, but I would to play Elphaba in 'Wicked' on Broadway. I have a lot of dream roles, but that's like my main one because of the vocal track. I love belting high things!

I didn't have an agent until I got 'Hairspray.' I had to get a Broadway show without an agent to get an agent.

As a woman of color, slowly and with some coercing, the not-for-profit theaters around the country are beginning to recognize and embrace the power of our stories, but with regards to Broadway and other commercial venues, we remain very much marginalized and excluded from that larger creative conversation.

I went to a really small school, and it had a really small theater department. They didn't talk about Broadway. I learned about it through watching the Tony Awards.

I started doing theatre, and that's when I really fell in love with the profession; I learned a lot. It felt a bit weird to go from living in New York on Broadway to university, so I kept putting it off. Then, eventually, I had to give up the place.

There's something about that relationship between actor and audience. Whether you get it on Broadway or in a fine local playhouse, there's no greater drug. Every time I get to do TV, film and a play in the same year, it's my dream come true.

After that, I started going downtown and doing a lot of theater shows in Chicago. When you go downtown there, it's like you're in New York, it's like going to Broadway.

I remember going on iTunes and 'Hamilton' was like the number one rap album, above like Fetty Wap, which is just impossible, like a Broadway cast album.

Bonnie and Clyde was the first show and the first role that I got to originate. Being part of that from the ground up and investing three years of my life into seeing that show come to Broadway was really rigorous but also so exciting.