Quotes About Broadway

I was dancing on Broadway for many years. Then everyone was either getting injured or retiring, and I was dancing with younger dancers.

My last show that I did on Broadway was - I hate to say this, but - 'Cats.' There you go. So I was doing 'Cats' on Broadway, and I injured my back. It was a really tough show.

There's nothing more Broadway than 'Hedwig.' It's very family-friendly. There's innuendo and stuff, but not more than you'd see on TV.

As soon as I saw 'Chinglish' on Broadway, I began to envision this smart and insightful cross-cultural comedy as a film.

I am always in much better shape when I am doing a Broadway show because you have the eight shows a week to kind of keep the body clean and perfect in a sense, you know? For instance, I always eat much better when I am in a show because you can't have dairy - for your voice.

Live theater is my favorite of all the mediums that I have worked in, so I have every intention on coming back to Broadway.

It has long been a dream of mine that this important story one day would be told on the great American stage of Broadway. In fact, I've dedicated much of the latter half of my life to ensuring the story of the internment is known.

Through the early 1930s, Barbara Stanwyck established her reputation in a field overflowing with other young Broadway starlets: Bette Davis, Miriam Hopkins, Katharine Hepburn, Claudette Colbert, Joan Blondell. Barbara was lower-keyed and less mannered than Davis and Hepburn; less glamorous than Colbert. She was "real," and she also proved to be the personification of no-nonsense professionalism, making her popular with directors and coworkers alike.

The hope is they would like to bring it to Broadway next year, so we'll see that's to come in the end of the finance year and everybody else and also real estate and what theaters are available at the time but I would like to come back with it.

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.

Cole Porter wrote Anything Goes and four more hits for me.

I've never been an actor on Broadway, but it feels like you're on a stage when you play at Yankee Stadium. And that's the feeling I've always had.

Every year I go to Broadway to see a musical - I like the music. I saw 'Mamma Mia;' I saw 'Les Miserables;' I saw 'Phantom of the Opera' like six, seven times.

I was pre-med in college, and so since a lot of people take a year off before they go to med school, I decided to take the time to pursue theater - six months later, I was on Broadway.

What a turnaround in sentiment 'Glee' exemplifies. It was only a few years ago that pursuing the dream of a Broadway career or cabaret stardom relegated some poor yearning dope to a lavender ghetto of losers, self-deluders, and social rejects.

I sing; I started my career at 9 years old in 'Les Miserables' on Broadway.

I was at Elon University in North Carolina for two years pursuing my BFA. And after my sophomore year, I was cast in the Broadway Tour of 'West Side Story.' I just kind of - it always was my favorite show growing up.

All I ever wanted to do was be on Broadway. I mean, remember, I grew up in a trailer.

When I was prepping for my Broadway debut as Romeo, it really hit me that I had never done that. I had trained at drama school for three years in my late teens to early 20s, and I'd studied Shakespeare, of course, but I hadn't actually performed it. So to do something like Romeo for my first Broadway role was a challenge.

That's my dream: one day, I want to standing on the stage on Broadway. I sing; my dancing is terrible, but I can be trained. That's my dream. That's something I really want to work on.

I just wanted to go to New York and be on Broadway, but then I was accepted by Juilliard, where they trained me in classical voice. It was great in the end, but at the time, I thought, 'What am I doing here? This is not my path.' But it was absolutely my path and where I was meant to be.

I was the illegitimate child of the legitimate theater. I had no training. I came from downtown rock and roll, and when I came in and auditioned for the Broadway revival of 'Hair,' I had no eyebrows - kind of a Bowie-esque glimmer kid. And it was hard representing the flower power era when we were stone cold punks.

No, I've never moved on with a play. I did the original 'Closer' in London but didn't transfer to the West End or Broadway with it. The same is true of 'Iceman': I didn't go to the Old Vic or Broadway with that. I don't know; I feel an allegiance often to the play where you do it first, in the theatre that it's in; you do it for that space.

I learned from master teachers at the University of Evansville, at Juilliard, at Shakespeare festivals all over the country, eventually landing at Shakespeare in the Park in N.Y.C. That show transferred, so I got to make my Broadway debut doing 'The Tempest' with Patrick Stewart.