Quotes About Broadway

My childhood dream was always to be on Broadway. I wanted to end up in TV and film. It's kind of flipped, and I'm not mad about it, but my childhood dream is Broadway and I want to end up there.

I love Jane [Krakowski]. Jane's been a dear friend for maybe a dozen years. We've worked together on many shows and concerts and readings. We did 'Damn Yankees' together and then we did 'Xanadu.' Jane did all the workshops of 'Xanadu' before it moved to Broadway. She's hysterical and our voices blended. We had a similar sensibility.

Maybe I'm old-fashioned. But I remember the beauty and thrill of being moved by Broadway musicals - particularly the endings of shows.

Burlesque thrived during the Great Depression, and by extension, so, too, did Gypsy [Rose Lee]. Men could no longer afford to pay $5.50 to see a show on Broadway, but they could scrape together $1.00 for a matinee at a burlesque house.

I can go out raw with nothing, and my fans would still be happy, but I feel that I owe it to them to give them almost like a Broadway musical at this point in my life. I have to give them something more, so I do have to think of different ways to do it.

New York was the glamorous town that you only see now in old movies and on Broadway stages. The sky was lit up with dancing neon signs. It was safe to walk out in the streets.

My return to the theater in New York was so specific. I didn't want it to be about leveraging my exposure or my fame, so the first show I did in New York was an ensemble piece at an Off-Broadway theater, and I wanted to make sure that it was just about the play and about the experience.

When I was growing up in Pennsylvania, auditioning for Broadway was my dream.

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.

I sing a mixture of everything from opera, folk music, Broadway. It's a mix of things.

Obviously I love working in film and television, but I started in theater and I'd love to be on Broadway.

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

When I look around at Broadway and the West End, theatre is becoming an exclusive club.

What's the difference in opening from scratch in Philly or opening from scratch in New York? The old out-of-town tryout circuit - taking the show pre-Broadway to cities like Boston, New Haven, Philadelphia, Washington - has sort of been replaced with the amount of workshops we do.

Here I am flying high over enemy lines in my Sopwith Camel searching for the Red Baron. Who's that behind me? It's the Red Baron! He has me in his sights! Give my regards to Broadway.

Success has a lot of different plateaus. But I first felt really proud of myself when I was doing an off-Broadway production in New York City.

I got the regular call, that they were doing a Broadway musical of Hairspray, and would I come and audition. I was familiar with the movie, because at the time it came out my lover wrote for Premiere magazine, and we had to see everything.

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.

At a very early age I knew I wanted to be an actor and then more specifically that I wanted to be on Broadway and be in musicals.

Trey Parker did 'Book of Mormon.' It's the best Broadway show I've ever seen. He does 'South Park.' It's wonderful.

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.

Everyone would like to be on Broadway, cause if a show works, you make a great deal of money and it allows you to write other shows.

They can't hurt me. Sure, they can crush you and kill you. They can lay you out on 42nd and Broadway and put hoses on you and flush you in the sewers and put you on the subway and carry you out to Coney island and bury you on the Ferris wheel. But I refuse to sit here and worry about dying.

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.

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.

Bonnie and Clyde was the first show and the first role that I got to originate. Being part of that from the ground up and investing three years of my life into seeing that show come to Broadway was really rigorous but also so exciting.

I'm an actor. I started as an actor. I started on Broadway doing 'Hair' and Shakespeare in the Park.

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 really enjoyed Eddie Bracken. He told me a great story. He did The Odd Couple on Broadway, replacing Art Carney, and he said, "Art Carney did it for six months and I did it for three years, and I don't think anyone I've ever spoken to saw me. They all saw Art Carney."

I've had albums out since the 1970s. I was in a musical, 'The Boy Friend,' directed by Ken Russell, and I was on Broadway in 'My One And Only' with Tommy Tune, so I've always been a singer, but I suppose people think of my modelling more.

When we were doing Bullets over Broadway, he told me to be more fragile and I thought I was, but he saw it completely differently.

If Broadway shows charge preview prices while the cast is in dress rehearsal, why should restaurants charge full price when their dining room and kitchen staffs are still practicing?

Although the 'New York Times' annually declares that Broadway is on its deathbed, news of its demise is greatly exaggerated. There's a lot of life yet in the old tart.

I always, always meant to be on stage. I only ended up even auditioning for television and movies because I was understudying a Turgenev play on Broadway and was so broke that, when I got a mini-series, I had to take it and was so ashamed because I was such a snob.

A lot of high school students on TV and in Broadway are played by people in their late 20s and even early 30s. That seems weird to me.

I've never seen a theater community to rival that of Chicago. Neither New York nor L.A. has the raw talent or integrity that Chicago theater has, and I think it's because Chicago doesn't have Broadway or the film and TV business to distract it.

I've always loved theatre because it's so immediate. The challenge of it is that, career wise, it's easier to get traction in the industry if you do film and TV because the audience is larger, and because the work can be seen for a longer period of time. I did solid work in a series of regional and Off-Broadway shows, but the work I did on TV or film will have a longer life with a larger audience (and with services like Netflix). Ultimately, there's something intimate about TV, because the storytelling and the actors come home with the viewer. It can be powerful because of that.

I love musicals and I love Broadway.

Acting on the stage is a luxury for me. I lose money. I make movies for financial reasons and this allows me the luxury of acting on Broadway. Hollywood, unfortunately, exploits actors for their own reasons, which are usually financial. So we might as well exploit Hollywood as much as it exploits us.

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.

I live in Derry, a little town in Ireland, and I don't have the background of Hollywood or Broadway.

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.