Harold Prince Quotes
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When I started producing, it was George Abbott directing and he would let me do the scenery. He just wanted to know where the doors were - the entrances, the exits; the tables, the props - and then I would hire the designer. I took charge of the visuals - scenery and costumes and so on. And, the shows looked wonderful.
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I love big, bold, truthful theater - the tradition of Victorian theater.
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Criticism is valuable... and self-congratulatory experiences are not.
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I really don't spend time thinking about the past. I think about the future. I'm not stopping.
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What's missing in the musical theater is producers willing to nurture new work, raise the money and put it on.
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The truth is, for some absurd reason, no one is willing to admit that the interests of the producers and the theater owners are not the same.
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Most of the big money people don't know what would interest an audience if you did it. They only know what interested the audience last time.
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There have always been revivals. Some have always been successful. And many of them have failed.
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I've never been able to understand where great artists come from.
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All these actors who died before I was born, all the theaters and the artistic movements - all that stuff fills you up and makes you feel like you're the inheritor of all this information and of all its passion.
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I got successful awfully quick, and I wanted it... But I do think there is responsibility to move the musical theater form forward. I think you always have to be aware of the work that came before and build on that.
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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 would like to see more new productions of new material by new composers/lyricists/book writers. I would like to see people take more chances. I think because everything costs so much they're not taking the chances they used to.
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There's no lack of talent out there. I suspect there is a lack of creative guidance, and that would not be solely the responsibility of a director but also a producer.
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The truth of the matter is that I have lasted a long time, and with it comes both good and bad things. One of the good things is that no one can ever take my career away from me. No one can ever say, 'You can't be in the theater any more.'
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I've seen a lot of 'Show Boats,' but I've never seen the one that thoroughly satisfies me.
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I don't know why the guys with the big money don't find five terrific young producers and give each of them enough to commission a musical and to live on for a year. You'd be likely to get at least one project with a future.
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I suppose a certain degree of adulthood has entered my life. Aiming for Broadway, I can't think that way any more. Of course, Broadway will always be important. But it's not the focus of everything that you do. You know, I'm very happy I was born when I was, so I got there in time. When it was time to get there.
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I've always loved Victorian melodrama. And I've always liked larger-than-life theater, providing it's truthful and honest. I like what the theater can provide in energy and bombast - I enjoy it when it's large, and by that I don't mean in size, I mean in emotions. Shakespeare did that.
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You think, 'Musicals, they must always be romantic' - You'd be surprised how few of them historically have ever been romantic.
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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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I saw 'On The Town' about nine times. I discovered it. I loved it. I was in college.