Harold Prince
Harold Prince
Harold Smith "Hal" Princeis an American theatrical producer and director associated with many of the best-known Broadway musical productions of the past half-century. He has garnered twenty-one Tony Awards, more than any other individual, including eight for directing, eight for producing the year's Best Musical, two as Best Producer of a Musical, and three special awards...
NationalityAmerican
ProfessionTV Producer
Date of Birth30 January 1928
CountryUnited States of America
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Nobody has yet proven that taking a chance and doing something unique that an audience isn't used to is a bad idea. What the theater lacks is that kind of courage.
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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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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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There was never any question that I would go to college, that I would travel, that I would go to the theater early and often.
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I really like reaching out and seeing the audience - they're potential audiences! And on occasion I can make them excited about going to the theater again, if they've ceased or gone less.
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I didn't go into the theater to be a producer, I went into the theater to be a director.
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I love big, bold, truthful theater - the tradition of Victorian theater.
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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'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'm just really trying to say what I really mean, which is: 'Your eye's on the prize, your eye's on the future. It's nice to know that a lot of wonderful things have happened to your life and that so much of it has been successful. That's great, but the work is really what makes it fun - and that has to be the future.'
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I'm crazy about Dublin. If you went back 3,000 years in my ancestry you wouldn't find a drop of Irish blood in the veins, but I love the place.
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'Evita' was four pieces of slick paper and a record album. It's the most scary, to sit down and dictate a musical scene by scene. It was a musical unlike anything I'd ever seen before myself.
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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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Ethel Merman would stay with a show for years and tour with it. So would Mary Martin, the great stars. They recognized the value of that success and nurtured it. Now, you come from Hollywood, you play 12 weeks and go away. I don't think that's the best policy.