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.
There are lots of young vital playwrights who are experimenting, and these are the plays that people who are interested in the theatre should see. They should go off Broadway. They should go to the cafe theatres and see the experiments that are being made.
All those days of waiting on tables until I could get a role on Broadway, all that time going to school taking lessons, and all those years of being a nobody following a dream-and now here it is.
I want to do a big Broadway musical, at some point. I would love to do that. To do something there would be super-cool.
One of the things I find very little of in America - and certainly not on Broadway - are plays with political attitudes.
If Broadway musicals were as popular as they were in the 20s, 30s, and 40s, then people like Sufjan Stevens and Iron & Wine would be writing for Broadway, which would be amazing. As it stands, it's the worst stuff that's mired in pop music.
I've grown up watching and admiring Norm. Sherie actually starred in the first off-Broadway show I ever saw in New York, which was The Last Five Years. It's amazing how things come full-circle and how the community (once you hang around it long enough) grows smaller and smaller as it grows. Sharing the stage with these people is more than a dream come true it's so special. They're so warm and giving and offer the best advice. Sherie is very nice and maternal and nurturing.
I thought that I'd always just do Broadway, my original plan, but that was derailed.
The Broadway schedule is so tough, so relentless there was almost no time to enjoy all the stuff.
I did The Seagull, the Chekhov play, on Broadway, a couple of years ago, and I had done it in London, and I became completely obsessed with the character, Nina, that I played in that. She's an actress. I couldn't find a play after that, that I wanted to do, because I couldn't think of doing anything else. Every part is a disappointment, once you've done that part.
There is nothing wrong with loving musical theatre, but I think that it's naive to hold it superior any other musical classification, especially since these other genres have been influencing Broadway more and more in recent decades.
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.
Intimate singing had a wonderful style in the '30s and '40s. It came out of Broadway and the jazz of Louis Armstrong and Billie Holliday. But Sinatra created the best romantic era that we've ever had.
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.
When you're starting out as an actor, you keep raising the stakes. First, you just want to be a character who comes on stage and gets a laugh or two and exits. Just five minutes on a stage, not even Broadway. But every time you say your little prayer at night, you place more demands.
Surely that little pseudo-gothic church on Broadway, hidden amongst the skyscrapers, is symbolic of the age! On the whole face of the globe the civilization that has conquered it has failed to build a temple or a tomb.
If Broadway was a river running from the top of Manhattan down to the Battery, undulating with traffic and commerce and lights, then the east-west streets were eddies where, leaf-like, one could turn slow circles from the beginning to the ever shall be, world without end.
I learned how to get rid of the Southern accent when I was, like, 11 years old and living in New York for the summer doing modeling and commercials and auditioning for Broadway. The mother I lived with for the summer taught me how to drop my Southern accent.
That's why I had to leave Hair on Broadway, because I did it for about a year, and one night I was doing the show, and I realized, well, this is not real. I told the director. He says, man, it was a killer show tonight.
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.
Christopher Walken was probably the most experienced dancing partner I've had in movies, because he has the same background as I do. He's from theatre, Broadway and off-Broadway, and we both shared that.
I would love to do Evita or Elphaba in Wicked. But I am more excited to originate a role on Broadway.
For the record, if you're not a stage actor, climbing onto Broadway and tackling something like David Mamet is not an easy thing to do.
I grew up going to musicals with my mom here in New York, going to Broadway. I used to be in musicals in high school.
I am a collector of many things, but I particularly love the sterling silver mint julep cups, each engraved with the titles of the Broadway shows in which I appeared.
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