It's definitely one of those things when you decide to be an actor that it would be really cool to be in a Broadway show or a series regular on a hit show.
I was the teenage kid growing up in New Jersey watching the Tony Awards and thinking, 'Oh, maybe if I'm lucky I'll make it to Broadway by the time I'm 40!'
In the seventies when I was struggling, I ate the same thing every day at Big Nick's Burger Joint on Broadway and 77th Street. A cottage-cheese omelette with tomatoes, French fries, rye toast, orange juice, and coffee. It was consistently the most satisfying meal I could possibly imagine.
Over the years, I've had to learn to play. For example, when 'Lennon' was on Broadway, I learned my way around the guitar chords because originally we were all going to play the instruments without a band.
There's a lot of pressure on Broadway. There's this feeling that the show has to be a commercial success and the producers have to make their money back and Tonys and blah, blah, blah, blah, blah.
I grew up in a crazy, gypsy-like household of actors, dancers and loony Broadway people. It was their way of life, and I didn't know anything else.
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.
I love Broadway shows.
I suppose a certain degree of adulthood has entered my life. Aiming for Broadway, I can't think that way any more. Of course, Broadway will always be important. But it's not the focus of everything that you do. You know, I'm very happy I was born when I was, so I got there in time. When it was time to get there.
I was really proud to be in that show. I will never forget. I got the script to 'Millie,' and I'm flipping through the script and saying, 'Boy, I have some lines... I have a big song.' I was 25 years old and had never been on Broadway before. I got to the end of the script, and I was really nervous and excited. I realized I had a lot to do.
I'm not going to be rockin' n' rollin' when I'm 50 years old. But you can be in your prime on television, compose songs, or write a Broadway play when you're 50.
I want to do a big Broadway musical, at some point. I would love to do that. To do something there would be super-cool.
I love and respect theatre, so I am truly honored to have the opportunity to take my voice to the Broadway stage.
Oh, I miss the excitement and immediacy of Broadway and the theaters.
To be an English person in my 20s, doing a Broadway show - it's one of the mountains I wanted to climb.
There was no doubt that there was a vast organization which was making fools of all the liberals in Hollywood and taking their money, that there was a police state among the Left element in Hollywood and Broadway.
I've never lived in New York. I've never done a play off or on Broadway, so I think that's in my future. Have that experience - get a little apartment in the city and grow a beard and walk around with earbuds in my ears, and a stocking cap and a big giant scarf.
Broadway has been my dream since I was 5 years old.
By 1949, there was no more work for me out there, and I went to New York in 1950 and just did whatever I could. Mainly television. Some Broadway. A lot of dinner theater work, which is not a very satisfactory medium.
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.
The magic of landing my first role on Broadway went 'poof' in a matter of a few weeks.
I miss singing. I did Broadway forever.
There's nothing more Broadway than 'Hedwig.' It's very family-friendly. There's innuendo and stuff, but not more than you'd see on TV.
I did a lot of musical theater when I was younger, and I really hope to get back there someday. I miss singing a lot. I listen to Broadway show tunes in my car and sing along to them.
I take great pride in recalling that I could open in a play on Broadway or in London's West End and fill a theatre on the strength of my name - Steed's name.
I dropped the 'Bundy' with my country music because I wanted it to be two separate things: There's me as a songwriter and a country singer, and there's me as a Broadway performer.
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.
Broadway is the same as Hollywood. Every few years we say we reached the mountaintop, then we take two steps back.
I used to watch the Broadway 'Les Miz' and study it.
I don't go to that many Broadway shows, so I can't really say anything.
My father was Abe Burrows, who was a Broadway legend. 'Guys and Dolls,' 'How to Succeed,' 'Cactus Flower,' '40 Karats,' 'Can-Can,' 'Happy Hunting,' 'Reclining Figure,' it goes on. He was a legend, and when I was growing up, I was Abe Burrows' kid. That was my self-esteem.
By the time I started writing plays, Broadway was never an expectation, so it's never been central.
Southall Broadway, in west London, has been a constant part of my life from the day I arrived in England as a baby from Kenya in 1962. My parents rented a room in one of the terraces off the Broadway, and I've seen it change from an ordinary English high street to what is now 'Little India.' with a confident Asian community.
Somewhere along the line, a concert became a variety show. It was no longer enough for four dudes to play together in front of some guitar amps. Costume changes, an army of dancers, and Broadway theatrics suddenly became standard for a 'concert.'
As a kid growing up in Lancaster, Pennsylvania, all I wanted to do was be on Broadway in a musical. 'Spring Awakening' kind of answered all of my questions and fulfilled all of my dreams - beyond my wildest dreams.
I came to Broadway through Indiana University.
