My favorite musical? I don't. It changes all the time. I'm just a diehard, I'm totally old school, like I'll sit and watch, if they are re-doing Oklahoma in New York, I will be the first one there.
Actually, the language in Shakespeare is wonderfully musical. You need to hear the music to connect with the words.
Sondheim is the Shakespeare of the musical theater world.
Learning music by reading about it is like making love by mail.
I would do a musical, but I can't sing.
I've come to realize that you live on through recordings; they're like a musical diary, a window into somebody's soul.
When I use the Internet, it's pretty much strictly for music. Checking out other people's web sites, what's going on, listening to music. It's pretty much a musical thing for me.
I sure lost my musical direction in Hollywood. My songs were the same conveyer belt mass production, just like most of my movies were.
I don't think there's a defined contemporary American musical, do you?
It's nice to stay up nights worrying about the material, and not about the investors who gave you $10 million to do your musical.
The musical has always been in jeopardy - until - or was in jeopardy until it was realised that it is probably the safest living theatre art form.
We've got to find a way to protect the process of making musical theater.
What's missing in the musical theater is producers willing to nurture new work, raise the money and put it on.
I got successful awfully quick, and I wanted it... But I do think there is responsibility to move the musical theater form forward. I think you always have to be aware of the work that came before and build on that.
I was there when the quote-unquote golden age of musical theater was flourishing. I met everybody who worked in theater or was famous in theater from the '40s on.
My parents were what I like to call proper musical fans. Lots of Sondheim was played in the car.
Elvis might have compromised his musical style a bit towards the end, but that doesn't mean that artists from the rock n' roll/folk-roots culture - of which he was not really a part - shouldn't get better as they get older, like the great jazz or blues artists.
I grew up listening to a lot of player-piano music in my house and a lot of old Tin Pan Alley songs and American standards. My dad listened to a lot of traditional Irish music and I grew up doing musical theater. So most of the music I was exposed to as a kid was pre-rock n' roll.
I play a percussion instrument, not a musical saw; it needs no amplification. Where it's needed, they put a microphone in front of the bass drum. But, I don't think it's necessary to play that way every night.
I mean, give me a guitar, give me a piano, give me a broom and string, I wouldn't get bored anywhere.
I was a student in London in the '70s, so CBGB really wasn't on my radar at all. Obviously, I was aware of the emergence of the Police in England and as an art student, I was very aware of David Byrne, but I suppose my musical taste at that time certainly didn't stretch towards the Dead Boys or the Ramones.
I did a long concert tour in England and Denmark and Sweden, and I also sang for the Soviet people, one of the finest musical audiences in the world.
A lot of people told me that I'm committing musical suicide with my sound.
'Flying Down to Rio' established RKO as a leader in musical film production throughout the 1930s. The film helped to rescue the studio from its financial straits and it gave a real boost to my movie career.
The world must be filled with unsuccessful musical careers like mine, and it's probably a good thing. We don't need a lot of bad musicians filling the air with unnecessary sounds. Some of the professionals are bad enough.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: