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
adulthood aiming born broadway certain degree entered focus life suppose time
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.
buck endearing
When I was a 25-year-old kid, I raised $260,000 for my first show, 'The Pajama Game,' in such a homemade, pathetic, endearing way - a buck here, a buck there.
hopefully
You do a show to be a hit and hopefully run a couple of years.
bit compare future living secret
I don't compare shows. It's very simple. I don't live in the past. If there's any secret to my longevity, it's living in the future. And a little bit in the present.
bad disasters fine reviews stuff
It's fine when you careen off disasters and terrifyingly bad reviews and rejection and all that stuff when you're young; your resilience is just terrific.
enjoy liked mean provide providing shakespeare theater truthful victorian
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.
chose direct involved
I wouldn't be here if it weren't for 'Show Boat.' The kind of theater I chose to be involved in is completely a direct reflection of what 'Show Boat' made possible.
black both choice empty liked limited love space time unlimited visuals
I always liked the visuals to be choice and at the same time minimalist. And, I love black boxes. After all, that's what theatre is, it's an empty space, and it's both limited and unlimited because the space is the space, but what you can do with people's imaginations is really endless.
amount buck courage front group guy huge people prize respect room similar wanting whom
Collaboration is just, really, a group of people getting in a room with their eye on a very similar prize and wanting to come out with the same show. The director, ultimately, is the guy in front of whom the buck stops. So, he has to have the courage to prevail. But, he has got to have a huge amount of respect for his collaborators.
commission five future guys likely money musical producers project terrific
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.
heads musical people
I feel so much more comfortable when I'm working on material which makes other people scratch their heads and ask, 'You're going to make a musical out of that?'
charge costumes directing george hire looked props shows took visuals
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.
There have always been revivals. Some have always been successful. And many of them have failed.
chamber identified meant none
Everything can't be a postage-stamp-sized project. Everything can't be a chamber piece. Musicals aren't even meant to be that, or identified with it... It's none of it simple.