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As a performer, I could be like, "I don't want to leave that in there." But as a producer, I have to leave it in there.
Done right, a performance review is one of the best opportunities to encourage and support high performers and constructively improve your middle- and lower-tier workers.
I think there's that weird bastardization where musical theatre actors are treated as almost like vaudevillians or circus performers - that we're somehow not good actors because we sing and dance.
Music is probably the only place I get energy from. Music and maybe watching a really tremendous performer, watching a terrific performer like Jagger or watching a great movie.
Not working is bad for you. It is my drug, it gives me a high; most performers will tell you that. And there is nothing like the high that an audience gives you.
There's a lot that goes into training, singers to eventually become performers. There's, projection, uh, which in many cases the artist was never concerned about.
It's an immensely competitive business, and I can tell you the older you get, the parts are fewer, and the people who are proven performers are greater.
The most evocative thing to me is probably when a writer and a group of performers can collectively put together something compelling that asks the really simple question: 'How do we live?'
In the scientific community you find competent teachers and original researchers, just as in the musical community you find many good performers but very few good composers.
The difference between the top performers and the average or mediocre performers is not a great, massive difference. It is just a tiny difference because the top performers do things just a tiny bit.
I never planned on being a live performer. My whole forte was about being in the studio, producing, playing the piano on recording sessions. I was all about the studio.
I discovered early on that some performers live their life in order to act, so all their relationships are simply an experience that they can feed back into their work. Which I find vampiric.
Even the prettiest performers and even the most handsome performers, when they get that opportunity, they still need to step up to the plate and deliver.
I think one of the most wonderful things we can do as performers is to remind audiences that they can still relate to the emotions and feelings, as though the music had been written yesterday.
Beginning in the nineteenth century, with performers like Franz Liszt, were musicians who were able to excite an audience and communicate on a whole new level.