I hate superficial violence. It's shallow and stupid, and the impact on the audience is really bad.
For me, there's the certain focus points that come out, which could reference a song or a pop disco, or something really abstract. It's not totally fulfilling or complete, but rather an ongoing incompleteness. I'm really interested in the audience's relationship with myself, and my relationship with them.
I've thought about bands or performers who appear from nowhere: You come out of the greenroom in this secure little unit, then you do this thing and you're shielded from everybody. I'm thinking of brilliant people, like Mariah Carey, who have no interaction. They interact with the audience at the time of the live thing but there's no build up and there's no afterward.
I think audiences deserve the benefit of the doubt. I prefer to be surprised by them rather then just assume they'll react negatively to any new idea.
I've always had that overweening desire to be liked by the audience.
I've tried to stay away from mild satire. I want an audience to feel something more powerful for their ten bucks. If they're going to spend two hours with me, and trust me to lead them around, I'd like to take them someplace special.
I credit Podiobooks and the free audio podcasts for helping me develop the audience I needed when I started selling my books in text forms.
Podiobooks rules. It's still the best way I know to find an audience for longer works in any genre.
Instead of three networks you have three hundred or three thousand. Audiences are inundated with programming, and that sometimes gives them a sense of petulant entitlement.
For years, right wing outlets like outlets like Fox News and talk radio have been telling their audience day after day that any information coming from outside of conservative media is not to be trusted.
After starting a blood feud with Fox News, something no Republican presidential candidate has dared to do before, [Donald] Trump seems to have successfully undermine the network in the eyes of its core audience with perception of the Fox News brand among Republican adults hitting its lowest point in three years according to a new YouGov survey.
When you start, it's not to do with the material so much. It's more to do with how you can control a crowd and make friends with an audience and sell your brand of humor.
I could get an audience into my world and if you can do that, they'll go with you not all the way, but a lot of the way.
I'd have to do unannounced gigs because your fans will laugh at everything because they know what you do already. What you really want is a neutral audience that isn't too harsh - a good comedy crowd - but that don't know necessarily what you're doing.
I'm not really sure that I have the same definition of things as other people. Like, when people talk about being "engaged" with the audience, I'm not exactly sure what they mean.
What I have noticed which I'm not nuts about that the trend that a lot of shows are hiring the American Idol type of talent without real training and real technique and I think that audiences are smart and sometimes seeing that things are not as high caliber as they were before.
With any character, you want the audience to at least empathize.
There's a bit of a difference in the way he sounds. Samuel E. Wright lent his voice and personality to the animated film with his booming voice. I have a high-tenor voice. Instead, I have to figure out a way to convince the audience to come along with me and accept this new texture and tambour to the way Sebastian sounds. I have a great dialect coach.
I'm most excited that the hard work has paid off for myself and the team. You put your heart and soul into something and you want to show it to an audience outside of Jersey Boys. It gives a chance to not only show my work, but of Jeffrey Schecter as an actor and co-writer. It gets to show off our cinematographer, my production team. That's what I'm most proud of… everybody gets to have their own moment to enjoy it.
I think it's keeping a surprise element, so that the audience never gets ahead of you. I like to pull the rug out from audiences, I don't like for them to think they know what's happening next.
I was in the ensemble and also covered the parts of Dee Dee and Mary!! I had a fantastic time doing this show especially when we performed in places like Cardiff and Glasgow where the audiences were just so enthusiastic, joining in with all the songs and up on their feet dancing at the end!!
To perform at the Cardiff Millennium Centre was amazing in itself - the theatre is an incredible venue and it was great to be performing so close to home. For me the best experience was in Glasgow, where I got to play Dee Dee for two weeks! The audience sang along to every song with such enthusiasm you actually couldn't hear yourself singing! That was incredible!
I feel lucky to receive such critical attention and praise when you're in a show that's going to last a month, it's just easier when audiences are more receptive. I've done two new shows this year, so I'm always excited to work on something a little older, traditional and structured.
I hate this expression, but - "thinking outside the box," in terms of how to market and put a Broadway show out into the - allow it to reach the target audience, who can't necessarily spend $120 to come see it.
There's was no pressure on it for me - I just went in and had fun. Whatever Jason Moore, the director, asked me to do, I did it! I ran around the room acting like a crazy guest on "Jerry Springer" and yelling at the audience. I just went for it.
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