Phillipa Soo Quotes
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I've prioritized taking care of my mind, having fun, and doing things that make me laugh. And eating well - as in, really good food, like steak or pasta or fresh vegetables or an amazing dessert. You know, 'treat yo'self.'
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I think I've learned, really, just how to let go - if an idea doesn't work, or it's not perfect, that's O.K.
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During the winter of 2013, we were running 'Comet' up in midtown - as opposed to downtown - and across the street in the Standard, and that was, like, our third time going at it, from Ars Nova to downtown to near Broadway. We weren't on Broadway. We were near Broadway, as we said.
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My mom always told me to follow my bliss. And I remember specifically with my father, when I was out of school and not knowing how I'd get a job or make money - should I take some classes? What do I do? He said as long as I was working - to enrich myself in some way - that I was on the right path.
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I think as a young person, leaving high school or college, you're like, 'All right, all right, enough already.' But now there's a part of me that would like to go back and relish those moments when you could sit down and just... read a book.
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On long car rides, we would always listen to the 'Blues Brothers' soundtrack and try to emulate everything that Aretha Franklin was doing. There was soul and grit in it that I think a kid from the suburbs really needed.
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I think in general, people are baffled by love and what it does to them and how far they'll go to have love and be loved.
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We did a student-initiated project of 'A Little Night Music', which was the first time that all of the divisions - music, dance, drama, opera - came together and put on a piece. It was a black box kind of feel. We had to get costumes that were pieced together. We had our own lighting that we finagled.
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Beyond just the respect that you want to have, people just miss out on being in the moment when they have a screen in front of their face. I just don't know to tell people. I feel it's like, you know, 'Turn off your phone and go to the theater.'
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I'm half-Chinese and half-Caucasian. My grandparents came here from China. My father was born in New Jersey.
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I learn something new about love every day. For example, loving yourself is just as important as loving other people.
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Everyone has a different interpretation of characters we know and love from Shakespeare, from 'Miller'. There's specific things about them that are written that are kind of the fingerprints of the first person who played that role, and so I like to think of it as a road map.
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I feel more like an American citizen now than I ever had, and it's artistically fulfilling.
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Doing a show eight times a week is kind of like doing yoga or tai chi. A vinyasa is the same every single time you do it, but depending on how you're feeling, it tells you a lot about what's happening in your life.
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You are carving out a story. You and your colleagues are trying to make something that is bigger than yourself. Although it can be a scary experience because you're putting your work out on the line, it's also incredibly rewarding because a lot of it comes from you.
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I took dance from a very early age, although my first recital, I remember refusing to go onstage. I think I was three. It's funny because that stage was also my high school theater stage.
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In terms of my own experience, my dad is first-generation, so his parents were from China, and my mom was born and raised in southern Illinois, and she was involved in the arts. My dad's a doctor.
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I eat a light but sustaining dinner before the show: a bunch of greens and some non-gluten quinoa or rice. I'll have a snack at intermission. I'm trying so hard not to have meals after the show because it's so late, but sometimes I just want a big bowl of pasta.
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I like that Amelie is strange, just like me. I'm happy I've gotten to be on this journey following my 'Hamilton' journey because they're so different.
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I actually grew up seeing a lot of classical theater - a lot of Shakespeare - but I have such a passion for music and find that way of telling a story to be really compelling as well.
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You get to crack the code of the play. You get to really pick at it and see, 'What is the story that we're telling?' 'What are the clues in the text that I can find that will help inform what story we're telling?' It's almost like a detective mystery.
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I would put on shows for my family.
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Doing something out of town is so beautiful because it really becomes about the process, and the product will be a result of it, but process is what is the goal - to really see what works and create the best story possible.
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There's the cool factor, right? You see your face on a sign or your name on something, like, 'Ahh! Here I am!' And then there's a huge responsibility and the scary part of it, which is like, 'Now what happens?' And then you realize, 'Oh, yeah, this is my job.'