Quotes About Broadway

All my roots are Broadway. I got my Equity Card doing a Broadway show, and my first love is theater.

I'm very comfortable with my own body. I come from Broadway — everybody's naked on Broadway. I like to think of myself as more granola. I'm not going to run around naked or anything like that unless I'm at my own home. Today, I walked into my backyard and was standing out there naked for a while. Don't tell: my neighbors will freak out!

When I was on Broadway, my most recent Broadway show was 'Spring Awakening,' and every night I did a topless scene.

If, for instance, we'd made the film after the show had been to Broadway, it would have been exactly the same film but we would have been assured that they would have understood it. We didn't have to do any alterations for Broadway. I was supposed to go a fortnight before it opened to alter anything that was necessary and there was nothing really.

I don't consider success doing a show for 30 years; I'm sorry. To me, you're successful when you graduate from something. I did a series, I did a talk show, I did movies, I replaced Mickey Rooney [on Broadway] in "Sugar Babies." You understand?

I think there is an evolving art taking place on Broadway.

I did an Off-Broadway show that was a comedy written by Ann Meara. We were like a family, and we did that show for a year. On Oz, I did feel like the cast members were friends and there was a lot of bonding. That said, there was a lot of testosterone. Once again, it was full of really intense theater actors with this writing that was really intricate and subtle.

For performances I have my favorite go to's like Prince, Donna Summer, Vanity 6, Sheila E, but it also depends on the type of show I am giving. I could pull references from Broadway musicals, Rock Steady Crew, a Jamaican dancehall or gentlemen's club, etc. all within one show. It truly is a playground with no restrictions for me.

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 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 started taking ballet lessons when I was 4, and I was performing in ballet companies when I was 10, and I did summer stock in Miami Beach when I was 12, and finally I said, 'I gotta go to Broadway.'

This power that I'm supposed to have over women was never noticed when I was a stage actor on Broadway. I don't know when I got it. And by God, I can't explain it.

I've always known that I wanted to be an actor. My family kind of was a theatrically inclined family. My father came to New York when he was a young man to be an actor and he, over a course, was in a couple Broadway musicals. I grew up in family where theater was always part of the vocabulary. By the time I was a teenager I was just totally obsessed, and it was the only thing I could imagine myself doing.

I had to get used to the theater atmosphere because I haven't had a role on Broadway since Aida. It was a different process from day one because I was learning my parts by myself.

[VIA DOLOROSA]'s pushing Broadway as far as it can be pushed. I stand before you as a reporter, and you have to decide whether I'm an honest reporter or not. And if you're convinced that I am honest, then I think that you will listen to me in a way that you wouldn't have listened to a fiction where scenes are made. . . . I've thought quite long and hard about what I want to say in this play. And if it means that every single sentiment that I produce is put minutely under an ideological microscope, that's fine.

I would also like to act, once in a while, but not get up every morning at 5:30 or six o'clock and pound into the studio and get home at 7:30 or eight o'clock at night, or act over and over and over every night on Broadway, either.

I've been able to go on and have a successful career on Broadway and certainly the last five years in Las Vegas have been amazing.

People have their own interests and they want to play a certain kind of music. People want to play in orchestras. They want to play on Broadway. Those that want to play traditional jazz and have no interests in the ideas of improvisation. So in spit of the fact that there are fifty violin players, you might only narrow it down to ten and within those ten, there might only be three who have the right kind of background and credentials to deal with what you need to deal with. Everybody's got their own special thing that they are after and a lot of times you don't have time to be training people.

I absolutely loved my stint on Broadway in Hairspray.

My feeling about young people who want to pursue a career is - the first thing is do your homework on where it all started. Go back and look at history. Look at why the shows you are loving today happened and the artists you are listening to happened. And do your homework on history. Whether it's musical movies, musical plays, Broadway musical recordings - do your homework! And then, that way you will have an understanding of why, now, certain movies, certain plays, certain musicals are making some sort of sense.

We do have American Idiot picked up by HBO and I wrote the record and concept to it. [We have] the writer Rolin Jones and [director] Michael Mayer [who also directed the Broadway production], so we'll see what happens.

Broadway is not just the song and the shows; it's the individual performers and the community.

Being in front of a live audience again. I get that in my concerts but there's nothing like being on Broadway.

The movie people would have nothing to do with me until they heard me speak in a Broadway play, then they all wanted to sign me for the silent movies.

The fact that ticket prices are way too expensive, and there's only one bunch of people going to see Broadway shows, is something I've never liked.

What fuels me is that there are a lot of people coming to Broadway and to the show [Aladdin] for the first time. Lots of kids and lots of adults and it's usually the kids were it's a special moment for them.

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.

Broadway is such a diverse community. Everybody knows how I believe, and everyone believes, and it's not a big deal. But in Hollywood, if you talk about politics - especially if you're a Republican - or spirituality, it's just not something people want to hear about.

I've studied theater since high school. Of course, it's a different story altogether being on Broadway, but it's still theater, and you have to be in front of a live audience, and that's very exciting. It's something I've definitely wanted to do, but I got involved in movies and television, and then it became a luxury to get back on the stage.

Regarding the current Broadway revival of The Music Man, Jay Nordlinger wrote: There will always be those who sniff that the show is "feel good"-but, oh, it feels good to feel good. And the main reason The Music Man feels so good is that it is good-a great American musical.

I didn't grow up with Broadway music. My mother played Perry Como, while I listened to Andy Williams records. Later on it was Cream, Grand Funk Railroad and lots of R&B like the Isley Bros. and Parliament.

I worked consistently on Broadway from when I was 8 years old through 'Spring Awakening,' which I left in 2008.

I think everybody who was in it thought they were all going to be Eartha Kitt or be big stars. That didn't happen, but it was a wake-up call to have one's first professional job on Broadway, I must say.

I'd studied dance in Chicago every summer and taught it all winter, and I was well-rounded. I wasn't worried about getting a job on Broadway. In fact, I got one the first week.

I'm doing a new musical on Broadway, which opens in October called The Boy from Oz, where I play Peter Allen. For those of you who don't know, he became first famous in America for marrying Liza Minelli.

I want to be a recording artist for my whole entire life. But Broadway is something I would come back to at any given moment. I love, love, love doing theater.

The Beatles have a deeper appreciation of all music. There's a humor, there's a Broadway sense, and later on, the Indian stuff came in. The Beatles were always taking in stuff and filtering stuff out to us. There's such a classical sense of arrangement, and their harmonies-what the Beatles did vocally is amazing.