Musicals Quotes

Quotes tagged as "musicals" Showing 1-30 of 42
Stephen Schwartz
“I've heard it said that people come into our lives for a reason
Bringing something we must learn
And we are led to those who help us most to grow
If we let them and we help them in return.”
Stephen Schwartz

I am the one thing in life I can control.”
Lin-Manuel Miranda, Hamilton: The Revolution

I imagine death so much it feels more like a memory”
Lin-Manuel Miranda

You and your words flooded my senses, your sentences left me defenseless. You built me palaces out of paragraphs, you built cathedrals.”
Lin-Manuel Miranda

It’s alright, you want to fight, you’ve got a hunger
I was just like you when I was younger
Head full of fantasies of dyin’ like a martyr?


Dying is easy, young man. Living is harder”
Lin-Manuel Miranda

Stephen Schwartz
“....Everyone deserves a chance to fly!”
Stephen Schwartz, Wicked: The Complete Book and Lyrics of the Broadway Musical

Stephen King
“Directing teenage actors is like juggling jars of nitro-glycerine: exhilarating and dangerous.”
Stephen King, 11/22/63

Stephen Sondheim
“Was that me? Yes it was. Was that him? No it wasn't..
Just a trick of the woods!
Just a moment,
One peculiar passing moment.
Must it all be either less or more,
Either plain or grand?
Is it always 'or'?
Is it never 'and'?
That's what woods are for:
For those moments in the woods...
Oh, if life were made of moments,
Even now and then a bad one--!
But if life were only moments,
Then you'd never know you had one.
First a witch, then a child, then a Prince, then a moment--
Who can live in the woods?
And to get what you wish, only just for a moment--
These are dangerous woods..
Let the moment go..
Don't forget it for a moment, though.
Just remembering you had an 'and,' when you're back to 'or,'
Makes the 'or' mean more than is did before.
Now I understand--
And it's time to leave the woods.”
Stephen Sondheim, Into the Woods

When I was a child I stayed wide awake
Climbed to the highest place
On every fire escape
Restless to climb

I got every scholarship
Saved every dollar
The first to go to college
How do I tell them why
I’m coming back home?”
Lin-Manuel Miranda, In the Heights: The Complete Book and Lyrics

Stephen Sondheim
“Best to take the moment present
As a present for the moment”
Stephen Sondheim, Into the Woods

“And you find some way to survive
And you find out you don't have to be happy at all..
To be happy you're alive.”
Brian Yorkey

“Don't forget that most men with nothing would rather protect the possibility of becoming rich than face the reality of being poor.”
Sherman Edwards, 1776: A Musical Play

Alison Larkin
“I, on the other hand, interrupt people because my thoughts fly out of my mouth. My handbag's full of rubbish. And I want to do something that matters with my life. Right now I'd like to write plays, sing in musicals, and/or rid the world of poverty, violence, cruelty, and right-wing conservative politics.”
Alison Larkin, The English American

“Of the voices in my head, the loudest one is mine.”
Joe Iconis, Be More Chill

Buck Bannister
“If Patti Lupone was born to play Evita then Madonna was born to play Patti Lupone playing Evita.”
Buck Bannister

“Hamlet' dwarfs 'Hamilton' - it dwarfs pretty much everything - but there's a revealing similarity between them. Shakespeare's longest play leaves its audience in the dark about some basic and seemingly crucial facts. It's not as if the Bard forgot, in the course of all those words, to tell us whether Hamlet was crazy or only pretending: He wanted us to wonder. He forces us to work on a puzzle that has no definite answer. And this mysteriousness is one reason why we find the play irresistible.

'Hamilton' is riddled with question marks. The first act begins with a question, and so does the second. The entire relationship between Hamilton and Burr is based on a mutual and explicit lack of comprehension: 'I will never understand you,' says Hamilton, and Burr wonders, 'What it is like in his shoes?'

Again and again, Lin distinguishes characters by what they wish they knew. 'What'd I miss?' asks Jefferson in the song that introduces him. 'Would that be enough?' asks Eliza in the song that defines her. 'Why do you write like you're running out of time?' asks everybody in a song that marvels at Hamilton's drive, and all but declares that there's no way to explain it. 'Hamilton', like 'Hamlet', gives an audience the chance to watch a bunch of conspicuously intelligent and well-spoken characters fill the stage with 'words, words, words,' only to discover, again and again, the limits to what they can comprehend.”
Lin-Manuel Miranda and Jeremy McCarter

“I have no doubt that, had I actually been growing up in the 1930s or 1940s, I would have been grooving to turn-of-the-century beats.”
Emma Brockes, What Would Barbra Do?: How Musicals Changed My Life

“Now I look back and realize the devastating impact that Hair's message had on my thinking, religious outlook, attitudes and morality.”
Caryl Matrisciana, Out of India: A True Story about the New Age Movement

“Hair represented the foundational ideas that prepared us and our world for the principles that underlie today's most influential mindset -- New Age thinking.”
Caryl Matrisciana, Out of India: A True Story about the New Age Movement

“Life tells you how to live it, if you live long enough.”

“Little did I comprehend at the time that through this musical I was being subtly introduced to a new religious system. One song ridiculed the faith of my youth. It encouraged us not to believe in God per se, but instead, to see that we ourselves were like gods.”
Caryl Matrisciana, Out of India: A True Story about the New Age Movement

“Nervously I looked around, but most of the audience joined in. They seemed unaware that they were praying. They didn't realize they were invoking and praising an Indian deity.”
Caryl Matrisciana, Out of India: A True Story about the New Age Movement

“Even in Bengal, where I had spent most of my growing years, this sect (which was established there in the fifteenth century A.D.) did not display the sort of fanatic trancelike madness that we witnessed on Oxford Street or on the stage of 'Hair'.”
Caryl Matrisciana, Out of India: A True Story about the New Age Movement

“The show moved along captivatingly. In the same way that the Hare Krishna sect was glorified, suddenly so was Yoga. Yoga! Alarm bells rang in my mind. The Yoga I had seen in India was intense, arduous and serious -- a discipline taught by avowed spiritual masters who prepared their disciples for death. So why did 'Hair's' hero in the song 'Donna' go to India to see the Yoga light? Why was it associated with drugs and reincarnation and presented as such a sweet, new spiritual experience?”
Caryl Matrisciana, Out of India: A True Story about the New Age Movement

“It’s as though the blinkers have been removed and I’m seeing clearly for the first time in a long while. Real-life romance is not the sugar-coated version you see in films and books and musicals.”
Helen Libby

Vincent H. O'Neil
“Write this play like a composer. I’ve always said that the best members of this troupe came from musicals, and I stand by that. To do what we do, you gotta be able to hear the music—even when it isn’t there.”
Vincent H. O'Neil, Death Troupe

“Poor guy's head is spinning!”
Jack Feldman, Newsies: Music from the Broadway Musical

“Music speaks to the heart in ways words cannot express - Nick Klezek”
Nick Klezek

John Osborne
“The bit was in my mouth. At last, for the first time since sleeping in crab-infested blankets in the dressing-room at Hayling Island, living on evaporated milk and biscuits, swanking about as a peroxided Hamlet, to an audience of geriatric holiday-makers, I had contrived some sort of personal control over the whole brash enterprise. I would only have myself to blame. The release from benign paternalism was firingly enjoyable.”
John Osborne, Looking Back: Never Explain, Never Apologise

John King
“Luck be at least genderfluid tonight.”
John Alejandro King a.k.a. The Covert Comic

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