Zitat des Tages über Broadway:
I'd love to go back to Broadway; I'd love to do animation; I'd love to do hair and make-up campaigns because I love hair and makeup - and, I'd love to do film. I mean, there are a lot of doors I'd love to open up!
I really wanted to be a Broadway kid.
Broadway has been very good to me. But then, I've been very good to broadway.
Tolerance actually does exist on Broadway.
It's interesting - years ago, I had such bad stage fright during musical theater auditions that I just gave up. And now I'm on Broadway.
I aspired from early on to write a novel, to be in the 'New Yorker,' to be on Broadway, and at least in a fleeting way, I got all those things.
I was in 27 Broadway plays in a row as a kid, and in between, I learned how to play the horses from the stagehands.
It's tourists in New York. Everything is geared towards that. It's so hard on Broadway now for them to get people in there. They have to compete with so many other entertainments, so they have to bring a star in which puts people there out of work.
I don't think just funny is enough on Broadway.
That's always - that's been another dream of mine, to do a Broadway play. An award winning Broadway play.
Motion pictures are a director's medium. Broadway is a writer's medium. Television is a producer's medium. I picked a medium I could control.
Because even at the age of fifteen, I used to go see all the Broadway shows and feel that they were sentimental, that they were pandering to the audience and trying to manipulate the audience. I had no use for practically any of the shows that were hits.
My studio was on 9th Street between University and Broadway.
I would like to play Broadway!
And what would be great numbers in a Broadway show are now on stage of the New York City Ballet.
I made my Broadway debut in the revival of Hair and followed it up with the bus and truck tour of Grease.
When I saw my first Broadway show, 'Beauty and the Beast,' I was like, 'Okay, I'm definitely gonna do this.' After that, I did little shows and started auditioning.
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.
My mother's side of the family was in the production side of theatre. My grandfather, Jose Vega, was a general manager for Neil Simon shows on Broadway.
I'm excited to flex my Broadway muscles - it keeps you alive as an actor.
That experience with 'Rent' went by so fast. I was younger. I didn't even really know what opening night was. And now I'm thinking back on the times I went to Broadway as a kid and the excitement I felt... And I'm realizing that I'm actually a part of that, so I'm learning to take it in, 'cause so often I shrug it away.
I used to build lofts in SoHo back when there was nothing there. I had a stoop on West Broadway between Prince and Spring. My partner and I would sit there, eat dinner, and watch the world go by.
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.
All I ever wanted to do was bit parts on Broadway. I have more than achieved any goal that I aspired to.
It's always been a dream of mine to be Ginger Rogers or Cyd Charisse, and here I am performing alongside Robert Lindsay and being directed by a major Broadway producer. Who said dreams don't come true?
I thought it was all a flash in the pan. It wasn't until Broadway came along that I felt I had really made it.
I'm not really a 'puppet' person in particular; I think they are very theatrical, and I've found different uses for them in shows, but my true interest is in writing Broadway musicals.
But I can't wait to watch the Tonys this Sunday. I'm really glad Broadway is doing so well this year, especially with its straight plays. It's been a wonderful year.
So if I keep making mistakes on Broadway or tape or film, producing, directing or acting, I can go along and do it - so long as I'm not investing too much capital in these things.
I struggled for a while, but when I was cast in an Off Broadway show called 'Once Upon a Mattress,' that kind of put me on the map.
I would like to win the Pulitzer Prize. I would like to win the Nobel Prize. I would like to win a Tony award for the Broadway musical I'm now working on. Aside from these, my aspirations are modest ones.
I remember when I was in 'Hairspray' - my first Broadway show - I truly was in awe of the voices I got to hear on a nightly basis around me. I'm thinking, 'Wow! Why aren't these people selling millions of records?' They're the ones that are out there, you know, belting their faces off!
Doing my Broadway show '700 Sundays' reminded me how much I love working in front of an audience.
I had never auditioned for Broadway - any play - and I was not familiar with what you're supposed to do.
One of the things I did when I was in New York, which has a wonderful deaf community, is I have worked on making Broadway more accessible to deaf people.
I did a reality TV show in London called 'I'd Do Anything,' and when I got put in the program, they said, 'What is your ultimate dream?' and I said, 'Broadway.'