#musical

I will be singing primarily all the songs from the musicals that I have been in from over the years. ↗

— Elaine Paige

#i #musicals #over #primarily #singing

Trying to describe something musical is like dancing to architecture, it's really difficult. ↗

— Robert Palmer

#dancing #describe #difficult #like #musical

Like, I kind of developed my musical style in a vacuum. Even though I listen to a lot of stuff, the way I wrote was in my bedroom, really privately. It's still the way I write, actually. ↗

— Liz Phair

#bedroom #developed #even #i #i write

I know you don't want to hear this but someone has to say it! You are out of control! I mean they're just shoes... let it go! ↗

— Gregory Maguire

#life

I do know one thing: I wish people were doing more dangerous musicals, more courageous musicals and not just falling into the trap of trying to figure out what the public wants, because you find out that the public very often wants what's good. ↗

— Hal Price

#courageous #dangerous #doing #falling #figure

At a very early age I knew I wanted to be an actor and then more specifically that I wanted to be on Broadway and be in musicals. ↗

— Andrew Rannells

#age #broadway #early #early age #i

'Hairspray' was a movie turned Broadway musical turned Hollywood remake, and that is the 'Lion King' circle of life as we know it in Times Square, the creative loop that swings for the stars and sometimes crashes into the upper deck. ↗

— James Wolcott

#circle #crashes #creative #deck #hairspray

I only sing in the shower. I would join a choir, but I don’t think my bathtub can hold that many people.
 ↗

— Jarod Kintz

#bathtub #choir #kinky #music #musical

And I love Jane Austen's use of language too--the way she takes her time to develop a phrase and gives it room to grow, so that these clever, complex statements form slowly and then bloom in my mind. Beethoven does the same thing with his cadence and phrasing and structure. It's a fact: Jane Austen is musical. And so's Yeats. And Wordsworth. All the great writers are musical. ↗

— Andrew Clements

#musicality #love

She sang, as requested. There was much about love in the ballad: faithful love that refused to abandon its object; love that disaster could not shake; love that, in calamity, waxed fonder, in poverty clung closer. The words were set to a fine old air -- in themselves they were simple and sweet: perhaps, when read, they wanted force; when well sung, they wanted nothing. Shirley sang them well: she breathed into the feeling, softness, she poured round the passion, force: her voice was fine that evening; its expression dramatic: she impressed all, and charmed one. On leaving the instrument, she went to the fire, and sat down on a seat -- semi-stool, semi-cushion: the ladies were round her -- none of them spoke. The Misses Sympson and the Misses Nunnely looked upon her, as quiet poultry might look on an egret, an ibis, or any other strange fowl. What made her sing so? They never sang so. Was it proper to sing with such expression, with such originality -- so unlike a school girl? Decidedly not: it was strange, it was unusual. What was strange must be wrong; what was unusual must be improper. Shirley was judged. ↗

— Charlotte Brontë

#empathy #expectations #expression #faithfulness #feeling