American - Producer | January 30, 1928 -
You do a show to be a hit and hopefully run a couple of years.
Harold Prince
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I remember when people actually wore coats and ties to theatre every night. They don't anymore. It's very different.
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I always had a good time in theatre, even when shows don't turn out as well as I'd like.
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I'm just really trying to say what I really mean, which is: 'Your eye's on the prize, your eye's on the future. It's nice to know that a lot of wonderful things have happened to your life and that so much of it has been successful. That's great, but the work is really what makes it fun - and that has to be the future.'
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The perfect expression of receiving a lifetime award is to be working when they're handing it out.
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I'm on a single track here - I work to direct what I want to see onstage. I basically have been feeding my own needs - to be working on a specific project at a specific time, and fortunately more often it works than fails.
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It's fine when you careen off disasters and terrifyingly bad reviews and rejection and all that stuff when you're young; your resilience is just terrific.
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You could argue that 'Sweeney Todd' was romantic, if you looked closely at it, but it didn't impart that to its audiences. But it's large, and it's melodramatic, and it's a style I like to work in periodically.
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Criticism is valuable... and self-congratulatory experiences are not.
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Everything can't be a postage-stamp-sized project. Everything can't be a chamber piece. Musicals aren't even meant to be that, or identified with it... It's none of it simple.
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I love big, bold, truthful theater - the tradition of Victorian theater.
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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.
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