Musical Theatre Inspirational Quotes

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There’s a kid in the middle of nowhere who’s sitting there living for Tony performances. Singing and flipping along with the Pippins, and Wickeds, and Kinkys, Matildas, and Mormons's. So we might reassure that kid, and do something to spur that kid, ‘cause I promise you, all of us up here tonight, we were that kid.
Neil Patrick Harris
Actors are agents of change. A film, a piece of theatre, a piece of music, or a book can make a difference. It can change the world.
Alan Rickman
I chose and my world was shaken. So what. The choice might have been mistaken, but choosing was not.
Stephen Sondheim "Sunday in the Park with George"
Mitchell Maxwell’s Maxims • You have to create your own professional path. There’s no longer a roadmap for an artistic career. • Follow your heart and the money will follow. • Create a benchmark of your own progress. If you never look down while you’re climbing the ladder you won’t know how far you’ve come. • Don’t define success by net worth, define it by character. Success, as it’s measured by society, is a fleeting condition. • Affirm your value. Tell the world “I am an artist,” not “I want to be an artist.” • You must actively live your dream. Wishing and hoping for someday doesn’t make it happen. Get out there and get involved. • When you look into the abyss you find your character. • Young people too often let the fear of failure keep them from trying. You have to get bloody, sweaty and rejected in order to succeed. • Get your face out of Facebook and into somebody’s face. Close your e-mail and pick up the phone. Personal contact still speaks loudest. • No one is entitled to act entitled. Be willing to work hard. • If you’re going to buck the norm you’re going to have to embrace the challenges. • You have to love the journey if you’re going to work in the arts. • Only listen to people who agree with your vision. • A little anxiety is good but don’t let it become fear, fear makes you inert. • Find your own unique voice. Leave your individual imprint on the world, not a copy of someone else. • Draw strength from your mistakes; they can be your best teacher.
Mitchell Maxwell
The (extremely lavish set) was created by a transparency, a fine gauze, finely painted. According to the theatre accounts, it cost 241 ducats, 91 ducats more than Rossini was paid for the music.
Richard Osborne (Rossini (Master Musicians Series))
Most of the theaters in Jersey City and the surrounding area have been closed, demolished, renovated or restored, but nothing remained the same. The Stanley Theatre still stands in Journal Square, completely restored as a Jehovah’s Witnesses Assembly Hall. Originally built as a vaudeville and movie theater, having 4,300 seats, it opened on March 22, 1928 as the second largest theater in the United States. With only Radio City Music Hall in Manhattan across the Hudson River being larger, many celebrities attended the gala occasion. The well liked but notorious Mayor Hague was present to cut the ribbon. Famous and not-so-famous headline acts performed here, including the Three Stooges, Jimmy Durante, Tony Bennett and Janis Joplin. It was here at the Stanley Theatre that Frank Sinatra was inspired to become a professional performer. Being part of the audience, he watched Bing Crosby doing a Christmas performance. By the time the show was over, Sinatra had decided on the path he would follow. In 1933 Frank’s mother got him together with a group called the “Three Flashes.” They changed their name to the “Hoboken Four” and won first prize performing on the Major Bowes Amateur Hour show. Frank worked locally until June of 1939, when Harry James hired him for a one-year contract, paying only $75 a week. That December, Sinatra joined Tommy Dorsey’s band as a replacement vocalist for Jack Leonard, and the rest is history!
Hank Bracker
I want to take a second here to talk about my decision to go to school for music, since I get asked for advice on this pretty often. If you’re a young musician (or dancer, or musical theatre actor, or any type of creative performer for that matter) and you’ve progressed in your abilities to the point that a career in the arts seems like a viable path forward, it’s only logical that you’ll find yourself considering a formal continuation of your music studies post–high school. Whether you go the route of the conservatory or enroll in a music program within a more traditional college, you’ll receive training from professional musicians, perform in ensembles alongside other talented students, and have access to state-of-the-art facilities and concert halls. The icing on the cake? You’ll get to sleep in late on weekdays, take classes that appeal to you, and surround yourself with artsy, inspiring kids who share your interests and passions. If all that sounds like a dream, it’s because, in many ways, it is. But any dream has its potential downsides, and I think that it’s important that you’re aware of them, too.
Scott Bradlee (Outside the Jukebox: How I Turned My Vintage Music Obsession into My Dream Gig)
I was fifty-eight years old when I finally felt like a “master choreographer.” The occasion was my 128th ballet, The Brahms-Haydn Variations, created for American Ballet Theatre. For the first time in my career I felt in control of all the components that go into making a dance—the music, the steps, the patterns, the deployment of people onstage, the clarity of purpose. Finally I had the skills to close the gap between what I could see in my mind and what I could actually get onto the stage. Why did it take 128 pieces before I felt this way? A better question would be, Why not? What’s wrong with getting better as you get more work under your belt? The libraries and archives and museums are packed with early bloomers and one-trick ponies who said everything they had to say in their first novel, who could only compose one good tune, whose canvases kept repeating the same dogged theme. My respect has always gone to those who are in it for the long haul. When people who have demonstrated talent fizzle out or disappear after early creative success, it’s not because their gifts, that famous “one percent inspiration,” abandoned them; more likely they abandoned their gift through a failure of perspiration.
Twyla Tharp (The Creative Habit: Learn It and Use It for Life (Learn In and Use It for Life))