Top 1200 Musical Comedy Quotes & Sayings

It's a very tough time for the playwright. Broadway has become almost a musical comedy theme park with all these long-running shows.

Everybody is different. Some comedy is more musical like Steven Wright. His is a pillar of comedy to me. He invented a whole form and all his jokes are poems. So it's different. I wanted to do it like George Carlin. Now I do it like me.

Music and comedy are so linked. The rhythm of comedy is con­nected to the rhythm of music. They’re both about creating tension and knowing when to let it go. I’m always surprised when somebody funny is not musical.

I always felt the audience sorta tolerated the serious musical parts while I was doing my comedy.

If you elect a matinee idol mayor, you're going to have a musical comedy administration.

When I came into comedy in 2005, I didn't even know there was discrimination against musical comics in the alternative-comedy strain.

I had no musical or athletic ability, and I wasnt particularly good looking. Comedy was something I could do for attention.

At one point when I was very young, when I was first starting out, I thought, 'Well, one day I'll be able to put all the music away and become a real comedian.' But then I realized there are amazing musical comedians out there, that musical comedy is probably something I'll always want to pursue.

Looking back, I think I was always musical. My dad was very musical, and I think my mom was musical.

I feel like L.A. is more of a showcase, and Chicago is a pure comedy scene where you're doing comedy for comedy. You're doing comedy actually for the audience that's there.

Society is the picnic certain individuals leave early, the party they fail to enjoy, the musical comedy they find not worth the price of admission.

Music and comedy, musical comedy, specifically, really helped me through my childhood. I felt out of place, I felt lots of adversity, and I felt scared all the time.

I think people like musicals. And when done with a modern comedic sensibility, musical comedy can be the most efficient delivery of both storytelling and jokes.

Whatever is original in my writing comes from my musical apprenticeship. I look for rhythm in words. I imagine words as if they were musical chords. Often I'll write something, read it, and find it musically unsatisfactory. There is a musical imperative in my choice of words.

It bothers me when people say 'shock comic' or 'gross-out' because that was only one type of comedy I did. There was prank comedy. Man-on-the-street-reaction comedy. Visually surreal comedy. But you do something shocking, and that becomes your label.

No one expects a Broadway musical comedy to be in the vanguard of what is bohemian, raunchy, folkloric, academic or aggressively experimental. That is not its job. Its job is to synthesize musical and social traditions with high-styled vivacity, especially those that dwell on different sides of the tracks in real life. The highbrow meets the lowbrow; sweet meets hot; uptown, downtown, all around the town.

Physical comedy and musical theatre were never actually in my main focus at school. I was more of a dramatic actor. I always thought I was better at that.

I loved traditional musical comedy. That was my passion. Then 'Spring Awakening' happened, and it took that rock n' roll and pop music to change gears for me.

You know, I think British comedy is very smart comedy. You don't get too much dumb comedy over here. Or at least I haven't seen it. If I'm wrong about that, I apologize to all the dumb comedy makers over here.

And what could be a hotter ticket than the improbable triumph of 'The Book of Mormon,' the musical-comedy moon shot of the season? Its creators, Matt Stone and Trey Parker, of Comedy Central's 'South Park,' are the most unlikely Rodgers and Hammerstein team ever to bowl a thundering strike.

Now, with the success of musical comedy like the Mighty Boosh, Flight of the Conchords and Bo Burnham, I feel vindicated.

I naturally think in terms of comedy whenever I see anything because tragedy is so close to comedy, so I like to add the tragedy to the comedy or a little bit of comedy to the tragedy in order to make them both feel more real to me.

I got into musical comedy because of Shakespeare, not because of singing. They needed someone to understudy Richard Burton. I was also going to musical auditions because the agent I had insisted I go to them.

I love musical comedy; I love comedy in general, and I have varied taste in terms of books, film, theatre, and culture.

It is easy to misunderstand what a comedy song is, or what its potential is. I'm used to musical comedy being maligned as an easy artform.

I've always played comedy. My background is musical comedy theatre, and that's really where my training is.

When the American people get through with the English language, it will look as if it had been run over by a musical comedy.

Harpo Marx looks like a musical comedy.

I will do comedy until the day I die: inappropriate comedy, funny comedy, gender-bending, twisting comedy, whatever comedy is out there.

Performing a play or a musical or something is obviously an incredible rush, but I don't think you get that immediate response like with comedy unless you get a round of applause or whatever.

I've come to realize that life is not a musical comedy, it's a Greek tragedy.

A good musical comedy consists largely of disorderly conduct occassionally interrupted by talk.

I'm grateful to be working. The most exciting thing for me is that I never get bored - I've done comedy, drama, musical theatre and now Shakespeare.

I'd like to do more comedy, but i think my forte is still in the heavy. I'd love to do a comic lead, a musical.

I considered the years in Hollywood nothing but an interim. What I always wanted was to be was a musical comedy star.

Horror is like comedy. Woody Allen's comedy is going to be very different from Ben Stiller's comedy which is going to be different from Adam Sandler's comedy which is going to be different from Judd Apatow's comedy. They're all comedy, but they're all very different types and you can enjoy all of them. Horror is the same way.

I do think musical-theater actors can get a bad rap, and I see why. There is a certain slickness - there's nothing better than an amazing musical, but an okay musical can be one of the worst times you've ever had.

Every disease is a musical problem. Its cure a musical solution. The more rapid and complete the solution, the greater the musical talent of the doctor.

We've had musical stuff in the show [South Park] forever. That's mostly because Trey's a big musical fan, and he's a great songwriter. He's been writing songs his whole life. So since the beginning, we've always put a lot of musical moments.

'Something Borrowed' is looking like a romantic comedy, but it's a comedy. It shines as a comedy; it's definitely not just about the romance. It's an honest depiction of the struggle between the characters. The comedy aspect will make it shine.

When I was growing up, I had more comedy albums than musical ones. George Carlin, Cheech and Chong, Steve Martin, Richard Pryor - those were my main men.

I love good comedy. I don't like bad comedy. Of course, nobody loves bad comedy, but there's a lot of bad comedy out there.

A rap is a tweaked version of comedy, because comedy came first. People weren't spitting before they were doing comedy. Comedy has been relevant for years. It's the same art form, pretty much. Discovering that and applying it, I think that has made my stand-up better.

When I first started doing my comedy act, I just desperately needed material. So I took literally everything I knew how to do on stage with me, which was juggling, magic and banjo and my little comedy routines. I always felt the audience sorta tolerated the serious musical parts while I was doing my comedy.

To me, the musical is best when it's a musical comedy. So if you have a very, very funny show, and very good, funny songs, that's what the musical does best.

Yeah, well I've always played comedy. My background is musical comedy theatre and that's really where my training is. As an actor, that's my training.

I had no musical or athletic ability, and I wasn't particularly good looking. Comedy was something I could do for attention.

In some ways, comedy and something like a musical do go hand-in-hand.

Louie Bellson represents the epitome of musical talent. His ability to cover the whole musical spectrum from an elite percussionist to a very gifted composer and arranger never ceases to amaze me. I consider him one of the musical giants of our age.

I wanted to be on Broadway, but in musical comedy.

I heard there were two local guys in town doing songs and comedy so I thought I'd take a look....they took my breath away...with their music, comedy, and showmanship.... 'Dakaboom'.. is the genuine article! Two voices in perfect harmony, and with joyful abandon and humor, they take you on a magical, musical, modern day vaudeville tour!! Ben McLain and Paul Peglar are headed for stardom. They are unique, they are original, and they are known as 'Dakaboom.' Don't miss 'em 'cause you're in for a treat!

I do an act, and I've been doing an act for 50 years. I do a variety show, which is a musical comedy show. I do comedy, and I do singing, Broadway show tunes and different songs that I like. Been doing it for many, many years.

I totally love to act. I don't care if it's a musical, a comedy. I just like to work and interact with other people.

'You Gotta Have Heart' is one of the most ridiculously perfect, amazing musical comedy songs ever.

My comedy comes from the actual music itself - they're observational musical gags. I could take the music away and it would just be some words.

My background is in musical comedy. I didn't know I was going to be an actor. But all my points of reference have to do with musical comedy and in being kind of a showoff.

My background is in musical comedy.

Now it looks like I'll be known as the musical comedy guy. Which is good news for me. Or I'll be known as the New Zealand idiot.

As an actor, you can do everything. I grew up in the theater, and you could do a musical, a comedy, a tragedy.

If the psychic energies of the average mass of people watching a football game or a musical comedy could be diverted into the rational channels of a freedom movement, they would be invincible.