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I was always drawn to broadway musicals, and obviously composers like gershwin, rodgers, berlin and porter were writing music that i found wildly impressive.
-Marvin Hamlisch
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I Was Always Drawn To Broadway Musicals,

Marvin Hamlisch
I was always drawn to broadway musicals, and obviously composers like gershwin, rodgers, berlin and porter were writing music that i found wildly impressive.
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Writing Broadway Berlin

More From Marvin Hamlisch

If you don't go to broadway, you're a fool. on broadway, off broadway, above broadway, below broadway, go! don't tell me there isn't something wonderful playing. if i'm home in new york at night, i'm either at a broadway or an off broadway show. we're in the theater capital of the world, and if you don't get it, you're an idiot.
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There are many people in the world who really don't understand, or say they don't, what is the great issue between the free world and the communist world. let them come to berlin. there are some who say that communism is the wave of the future. let them come to berlin. and there are some who say in europe and elsewhere we can work with the communists. let them come to berlin. and there are even a few who say that it is true that communism is an evil system, but it permits us to make economic progress. lass' sie nach berlin kommen. let them come to berlin.
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Everything has to be intrinsic plot-wise in the same way, to use the linda williams analogy but to move it on a bit, as musicals - in old musicals, like in an old cole porter musical, you get the action, then they do a song, which reflects a moment - everything stops while that is being sung - and then you restart. these days in most musicals, the plot keeps moving through the song. i think it would be nice if someone constructed some pornography where the sex continues to propel you through the story.
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I wanted to invent some kind of american dance that was danced to the music that i grew up on: cole porter and rodgers and hart and irving berlin. so i evolved a style that certainly didn't catch on right away - but i had some good mentors in new york who encouraged me.
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Perhaps the central question about [eliot] porter's work is about the relationship between science, aesthetics, and environmental politics. his brother, the painter and critic fairfield porter, wrote in a 1960 review of [porter's] colour photographs: 'there is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like.
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And i don't consider broadway the acropolis of theatrical art. i mean broadway is commercial - that's what it is. it's expensive seats and a lot of them that have to be filled every night. off-broadway and off-off broadway as far as i'm concerned is in new york the pride of new york theater.
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