I grew up being the girl in the sidelines, singing the harmonies. That was my musical theater upbringing. Some of my fondest memories are of being in the rehearsal studio, practicing.
When I was young, I had a professor in the theatre department who made some advances that were unwanted. I was 19, he was in his 50s.
Because of my classical training there is a conflict at times whether I do something even slightly commercial, or popular. The attitude is that if it’s successful, there must be something wrong with it, like TV—it’s cheap. If it bombs I’ll know it’s good—really warped thinking.
Great costumes, especially in a period piece, shouldn’t take over but instead help strengthen the actors’ performances.
I have had with the Met an incredible collaboration. I feel really at home in this theater. Working there is a pleasure, even if you are not at 100 percent.
As a boy, I’d always had an interest in theater. But the idea at my school was that drama and music were to round out the man. It wasn’t what one did for a living.
All the world’s a stage, And all the men and women merely players. They have their exits and their entrances; And one man in his time plays many parts. (“As You Like It”)
All of the arts, poetry, music, ritual, the visible arts, the theater, must singly and together create the most comprehensive art of all, a humanized society, and its masterpiece, free man.