The good thing about Broadway is that you don't have to worry about an airdate. It gets done when it gets done.
I sing a mixture of everything from opera, folk music, Broadway. It's a mix of things.
I went to Boston University and got my BFA, and performed Off Broadway.
A lot of my friends were a lot into theatre a lot earlier than I was. A lot of my friends were kids who were in The Broadway Kids and the kids auditioning for Gavroche in 'Les Miz.' I was never that kid. I was weaned on Michael Jackson. Not literally, because that would have been odd.
Don't know about a cabaret act right now, would actually prefer a role in a broadway musical.
As the years went by, working on Broadway, I started seeing that I had a fan base and that they were mostly young girls. They are looking for someone that they can look up to, that they see as a role model. And I don't take that lightly; it's a big responsibility.
Producers on Broadway approached us with an original script after relaunching ourselves as 'A Great Big World,' and wanted us to write the music. They asked us to make the music we would sing if we could, and so we can go a little crazier. We refer to it as 'our music on steroids.'
I wasn't straining at the bit to become a movie star any more than I had plotted to get out of vaudeville and into Broadway musicals.
Being on Broadway is the modern equivalent of being a monk. I sleep a lot, eat a lot, and rest a lot.
My one ambition was to go to Broadway, and I never gave up on that dream.
I thought I was going to be on Broadway. I thought, 'I'm going to do theater.'
I probably never would have been hired on Broadway had I not moved out to L.A. and pursued acting and film, which is sad, really.
I had a hard-scrabble childhood with my parents. I have a lot of baggage. To come down to the footlights and accept the audience's affection inside a Broadway theater - that didn't come easily to me.
My skirt fell off on stage during a performance of Hairspray on Broadway, revealing my fat suit over my own natural fat suit. I turned to the audience and said, 'Now you know why I spent six years in a square.'
'Story of My Life' was essentially a two-man musical play. In hindsight, I don't know if there was room for a two-man musical on Broadway.
The Broadway audience is made up of a greater percentage of tourists now. There's not nearly as much variety and danger and challenge in what's being offered.
My daughter just graduated college and she's a dance major. She's done a couple of dance videos already and won Miss Massachusetts a couple of weeks ago. She's going out for Miss United States the second week of July, out in Las Vegas. She will probably wind up going to New York and trying the Broadway thing.
I've just been more interested in doing film right now and I don't want to go away from my family for six months, which was what I would have had to have done if I did the play on Broadway.
Everybody gets to a stage when it's time to move on. I was bored, and the band wasn't going anywhere, so I left. I did a couple of shows on Broadway and some other things. I was busy. I just wasn't making records.
I was always drawn to Broadway musicals, and obviously composers like Gershwin, Rodgers, Berlin and Porter were writing music that I found wildly impressive.
I worked consistently on Broadway from when I was 8 years old through 'Spring Awakening,' which I left in 2008.
I started writing lyrics out of desperation. I was broke and wondering where my next job, my next meal was coming from, although I had had several successful revue songs on Broadway.
For a while, people couldn't understand why I'd find them so fascinating, but I'd rather go to a trial than to a Broadway play. Now that we have Court TV, they see what I mean.
The biggest audience for Off Broadway is mostly coming in on a train - either Upper East Siders or Metro-North. I go to the theater, and everyone around me is over 50. How interested will they be in my kind of work?
Broadway has changed tremendously from the early days when the shows were referred to as musical comedies. Musical Theater is now a more expanded art form. Back then, singer/actors were not the norm. From the 60's to now, it is necessary to do it all to be a consummate Broadway performer.
I have ambitions to do a Broadway record one of these days and get in the studio with like, a real orchestra. I'm a big musical theatre geek.
In high school, I was doing my magazine 'Rookie' and a lot of writing, and I became a little less interested in the fashion world. I was approached by an agent for writing, and I said I wanted to act as well. They sent me scripts, and then I got my first Broadway play, 'This Is Our Youth'.
When I was prepping for my Broadway debut as Romeo, it really hit me that I had never done that. I had trained at drama school for three years in my late teens to early 20s, and I'd studied Shakespeare, of course, but I hadn't actually performed it. So to do something like Romeo for my first Broadway role was a challenge.
Broadway's not what it used to be.
I am not a sex symbol of the Broadway community. I know guys who are, and I say, 'Rock it out.' But I'm more comfortable in a different land. I don't know what land it is, but not that one.
One of the things I find very little of in America - and certainly not on Broadway - are plays with political attitudes.
I have a place in the Broadway community that can only be earned.
I like singing as much as I like acting, and all through high school I thought I might be a Broadway singer.
I was always daydreaming about singing in big productions on Broadway.
Broadway is a tough, tough arena for singing.
You thought the stage, you thought Broadway: that was the pot at the end of the rainbow. The idea of being in Hollywood was like going to the Moon or Mars.
