We all know that the theater and every play that comes to Broadway have within themselves, like the human being, the seed of self-destruction and the certainty of death. The thing is to see how long the theater, the play, and the human being can last in spite of themselves.
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 feel like I've been dealing with that building over the years because of the Broadway community, so I'm treating it in the same way - I've always tried to keep my personal life private. I didn't get into this business for notoriety or fame. I don't go to places to be seen and that's not going to change.
I started in the music business I was first introduced to 1650 Broadway, uh, which was in reality where everything happened in the '60s.
My real pleasure is that 4 times a week 1,800 people are standing up and shouting on Broadway for an author who died hundreds of years ago.
Our contention has always been that Shakespeare is our greatest living author. If he can survive a season on Broadway, he must be.
And I don't consider Broadway the acropolis of theatrical art. I mean Broadway is commercial - that's what it is. It's expensive seats and a lot of them that have to be filled every night. Off-Broadway and off-off Broadway as far as I'm concerned is in New York the pride of New York theater.
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?
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.
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.
All my roots are Broadway. I got my Equity Card doing a Broadway show, and my first love is theater.
When I was growing up, there was no such thing as Off-Broadway. You either got your show on or you didn't.
Hit songs did not come out of musicals. Pop-rock was creating the hits. There were very few songs that made the charts out of any Broadway musical.
When we got off the streetcar at Times Square, it was somewhat of a letdown. Newspapers were blowing about the road and pavement, and Broadway looked seedy, like a slovenly woman just out of bed.
Broadway is really my life.
The only thing I haven't done as an actor, other than Thai puppet theater somewhere, is act on a Broadway stage.
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.
I was in Jacques Brel Off-Broadway for many years, so I've always been a singing actress, but the songwriting was a complete surprise. I had never written a song in my life. We were on the road with Jacques Brel doing the national tour, and I picked up a guitar one day and I wrote a song.
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.
The beauty of Broadway is that if I'm 60 or 70 years old, if they'll accept me back, I can go back. So I think for right now I'm going to focus on the music--it's the new baby--and see how it's going to work out, and then maybe in a few years maybe I'll go back.
The Beatles first appeared on our show on February 9, 1964, and I have never seen any scenes to compare with the bedlam that was occasioned by their debut. Broadway was jammed with people for almost eight blocks. They screamed, yelled, and stopped traffic. It was indescribable ... There has never been anything like it in show business, and the New York City police were very happy it didn't - and wouldn't - happen again.
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.
I think I could beat Joe Frazier singing. I was in a Broadway musical called Big Time Buck Wright.
I always felt like Broadway was not for me - in terms of ticket price, in terms of what was on there. I never saw myself reflected in the mirror of the Great White Way.
I think I can work anywhere, but you don't get the same kind of inspiration everywhere. New York theater has become a big inspiration for me. I only started writing for the stage myself because I like to see the good, mostly off-Broadway plays in New York.
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