American - Actor | October 31, 1957 -
When you have a community that's strong in the arts, it brings all sorts of attention and different businesses into the community.
Brian Stokes Mitchell
CommunityStrongAttentionYouArts
People in the performing arts have a lot of other skills they don't realize they can utilize, and part of what the Actors Fund program is there to do is wake their head up to realize there are other things they can do.
PeopleSkillsRealizeHeadUpArts
It's nearly impossible to make a living in the arts.
ImpossibleLivingArtsMakeNearly
Cabaret presents different challenges, as it is all on me. I love having the freedom to say anything you want - do anything you want. It is a lot of responsibility, and if it works, you get all the kudos, and if not - all the blame.
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On Broadway, you are working with some incredible people, and they have great reasons for doing things the way they do.
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My mother was the first African-American policewoman in Seattle - recruited, actually - and she did it for only 2 years, as she did not want to carry a gun. She worked mostly on domestic disturbances. The NAACP wanted her to do it. She did not actually have the temperament to be a cop - she was very sweet. She had a Masters in social work.
WorkMotherSweetGunWantShe
Something is guiding my career; I don't know what it is. When I look back at my career, I call myself the most lucky actor in the world. It is all I have ever done. I do master classes, and I tell people not to use me as an example. I do not know anyone like me - not to brag - it is just very unusual.
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You need raw talent to be successful.
TalentYouNeedSuccessfulRaw
People who are artists professionally are not artists because they want to be artists; they have to be artists. They're compelled to get that creativity out and to share that with others.
CreativityPeopleWantOthersOut
What I love about piano and vocal is it's incredibly pure, and it gets down to the essence of the song because you're not distracted by an orchestra. When it's just a piano and a voice, it's about the purity of singing the song.
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When I was preparing 'Kiss Me, Kate,' I did go to the Museum of Broadcasting and watched an old kinescope of Alfred Drake doing the role on a television special. It was interesting, but I didn't feel any need to try to copy him.
KissMeFeelInterestingDoingCopy
Usually, I don't feel comfortable with a character until I've played him before an audience for several performances. It is not until after three months of performing that I learn to discover what I call 'all the nooks and crannies' of the person.
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