Quotes About Broadway

I'm extraordinarily honored and proud when I am told that I am part of the Broadway community and part of the Broadway family. Because, Broadway is a family. And it doesn't matter if you did one show or if you did fifty shows.

I wanted to be a therapist if the acting didn't work. I also did a lot waitressing and odd jobs. I'd audition but couldn't get hired to save my life. I'd do Off-Broadway theatre and that was great and I was excited and thrilled, feeling like, 'Well, it's Off-Broadway, but there's still the Broadway in there.'

I'm definitely nervous and excited. I feel like I've been playing off-Broadway, not to say that Boston doesn't have a great theatre district or great theatre, but it's not going to Broadway; it's just a different city.

My grandmother took me to a lot of theater. I was exposed to performance quite a bit - everything from Broadway to off-Broadway and dance and music as well. I was very lucky that way. It was a very rich childhood.

Broadway shows in New York draw two times the attendance of all New York sports teams put together.

So I forcibly shove aside my prickles of pissed-off, which is easier than it sounds when millions of little sequined caffeine dancers are doing their big Broadway number on your internal stage. (Page 173)

I've been blessed by doing classic plays on Broadway, which was one of my great dreams forever.

There is a problem on the so-called commercial stage in New York. The price of a ticket is exorbitant, and there are no longer original productions possible, apparently, on the commercial stage. They are all plays that were taken from either England or smaller theaters, off-Broadway theaters, and so on. The one justification there used to be for the commercial theater was that it originated everything we had, and now it originates nothing. But the powers that be seem perfectly content to have it that way. They don't risk anything anymore, and they simply pick off the cream.

You could drive a rental car until you don't want it. Just get out of it while it's moving and just walk away. No, I don't feel like being in that car any longer. Just call Hertz. Hi, your car is drifting into the intersection of 28th and Broadway, if you're interested. It's now your problem.

Our contention has always been that Shakespeare is our greatest living author. If he can survive a season on Broadway, he must be.

The play I was doing [on a Broadway ], I was playing an obnoxious, outspoken kid, so [the director James Lapine ] saw me do the play, and he was like, "That's what I'm looking for." I tested for the part [in Life With Mikey]. Back then, I used to do screen tests. I mean, they still do every once in awhile, but it was a big deal.

Imagination bound us stronger than love. Within its limitless borders we launched ships and love affairs, discovered lost worlds, made buildings and babies, found husbands, wrote letters and Broadway plays. We made ourselves up everyday.

When I made my Broadway debut, I was still cleaning houses, something I'd done since I went out on my own at 15.

I started my career off replacing Rita Moreno in a Broadway show.

I learnt a lot from my Broadway experience, it was one of the most challenging things I will probably ever have to do in my entire life, because it was eight shows a week - live singing with really hard choreography - and the spontaneity, you don't know what's going to happen.

The actual cheerleaders in our film are all Broadway dancers.

I started in the music business I was first introduced to 1650 Broadway, uh, which was in reality where everything happened in the '60s.

A dilettantism in nature is barren and unworthy. A fop of fields is no better than his brother on Broadway.

The only thing I haven't done as an actor, other than Thai puppet theater somewhere, is act on a Broadway stage.

On Broadway and in the United States it's very different - people crossover all the time into television. I think that we'll get there [in London] in the end, but it has to start with who comes to see you in the musical and whether they can see beyond the dancing and the singing.

The hope is they would like to bring it to Broadway next year, so we'll see that's to come in the end of the finance year and everybody else and also real estate and what theaters are available at the time but I would like to come back with it.

[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'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 don't think just funny is enough on Broadway.

A lot of people now don't know I've been on Broadway.

Broadway remains the closest thing we have to a national theatre, the place where the greatest number of people can potentially see new work. For an American playwright to say it doesn't matter is simply to capitulate to the current situation.

Id like to do Broadway if the right project came along, but my mission in life is that I want to help change peoples lives.

I wanted to write for Broadway.

Quitting the show was a complete anomaly in my life and my career. I've never missed out on anything. I relished the opportunity to be on Broadway... It's the holy grail for people like me.

Being away from home was tough, but the challenge and the thrill of being on Broadway was so fulfilling, and I'm thankful to my husband for making it possible and holding it down at home.

But it is rather derogatory that your dwelling-place should be only a neighborhood to a great city,--to live on an inclined plane.I do not like their cities and forts, with their morning and evening guns, and sails flapping in one's eye. I want a whole continent to breathe in, and a good deal of solitude and silence, such as all Wall Street cannot buy,--nor Broadway with its wooden pavement. I must live along the beach, on the southern shore, which looks directly out to sea,--and see what that great parade of water means, that dashes and roars, and has not yet wet me, as long as I have lived.

Mr. Brooks and I have been friends forever. He is in seventh heaven with his new success on Broadway.

New York. It's home to opera, Broadway, museums, the ballet and orchestra - everything that I love. The most real people in the world live there.

I went to School of the Arts in Winston-Salem, and we had a bunch of singing classes. My first job in New York was an Off-Broadway musical.

I'd love to do a Broadway show, but I can't because of the style I sing.

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.

A play gets on Broadway by fluke. And you don't even start out with that ambition. When I do a play, the intention is just to put it up somewhere.

I think... you know, collaboration, in general - no matter movies, television or Broadway - is offering of what you can bring to the table and also fighting what you think the important battles are. Not everything is going to make it in there. Not everything is going to work. You have to collaborate. And you have to be a good listener.

Broadway is amazing because you're performing for such an intimate group of people. You're living in the moment and whatever happens happens, and you go on. You can't say cut and redo it, you have to be on the whole time.

I would love to work on Broadway, but I don't know that it would manifest itself in musical theater.... I have terrible stage fright that I'd have to get over.

I had the greatest time on Broadway and made friends I never expected to make!

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.

You bet I arrived overnight. Over a few hundred nights in the Catskills, in vaudeville, in clubs and on Broadway.

I am still so proud to have been a part of something that introduced theater to so many people who weren't exposed to it before. We took Broadway and put it in peoples' living rooms once a week for two seasons. People still come up to me in the street and say, 'I never went to theater before I saw "Smash.'" That's the greatest compliment.

I probably never would have been hired on Broadway had I not moved out to LA and pursued acting and film, which is sad really.

You can't remember what movie you saw two weeks ago, but you can remember what Broadway show you saw two weeks ago and where you ate dinner - everything about it. There's something about live theatre that hits you in the heart.

The producers and I first talked about the Big Fish musical, right before we did the first test screening of the movie. I said, "I think there's a Broadway musical here." And really, from that day, we started figuring out how we would do it.