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Fear is destructive. Fear and creativity don't mix. Ultimately, it doesn't do you any good.
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Years ago, I couldn't get arrested in commercials because of my look: 'Is he Jewish, Hispanic, or African-American?' I ended up doing voiceover work, which has been great. Honestly, I can't complain.
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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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I'm a fan of odd meters. For example, I've decided to sing 'No Business Like Show Business,' but I'll be doing it in constantly changing 5/4, 7/4 and 11/4 time signatures. I've found a way to make that work.
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I love being outside, and I love the fresh air.
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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.
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The Actors Fund is a human services organization, so our focus has been on caring for the entire human as opposed to dealing with the disease.
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I can count on one hand the number of conductors-composers-arrangers that I enjoy working with, and at the top of that list is Mack Wilberg. I feel like I've known Mack forever. I'm just nuts for him.
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Each time I have performed in Utah, I had a great time, and the audiences seem to enjoy what I do. The audiences are very warm and very appreciative.
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I love doing theater. It's what I grew up in and is my roots. I get a huge fulfillment from it. But if my path is to go someplace else, hey, I'm there.
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'Kiss Me, Kate' was my 'Ragtime' Tony.
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I'm fortunate that I've been able to work on Broadway, but it doesn't give me an outside life. So I decided to go into the concert world. I do 40 to 50 shows. That takes one to three days a week, and I'm home the rest of the time.
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Through most of my life, music has been like a radio that plays and plays in my head.
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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.
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That's what I love about New York. So many people crowded together, pushing against one another. And that's what I hate about New York. So many people crowded together, pushing against one another.
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I don't recommend skipping college, but things have worked out for me.
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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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You lose more than you win in life, and that's OK. That's the nature of life.
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There is a built-in appreciation for music that is so much a part of the LDS culture. Utahns know that music can be divine and can touch a person's spirit in a unique way.
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It's nearly impossible to make a living in the arts.
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That's the magic of art and the magic of theatre: it has the power to transform an audience, an individual, or en masse, to transform them and give them an epiphanal experience that changes their life, opens their hearts and their minds and the way they think.
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I love the theater, and I just don't love television like that.
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My father was a huge jazz fan, so I remember him playing Duke Ellington, Sarah Vaughn, and Count Basie.
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For a while, I couldn't get arrested in television because everybody thought of me as that guy on 'Trapper John.' So I thought, 'Great, I'll come out here to New York and do some theater, and when they get tired of me, I'll do something else.'