Donna Lynne Champlin Quotes

Theatre director: a person engaged by the management to conceal the fact that the players cannot act.

Musical theatre history is littered with bad reviews for now classic pieces.

It's very easy for me to watch a performance and just speak on it as I see it.

I can't control what the judges give me.

My parameter of judging a script has not changed over the years. I still go for a script where the story interests me. Yes, there are times where I might go wrong; say, out of five scripts, I might go wrong on one.

It's very rare for me to come across a script for NYMF that is truly its own animal. That's really what appealed to me about 'Valueville.' I still have my notes from when I first read it.

I accept offers only when people approach me with a good script, and all those experiences have been great.

My brother advises me on what kind of films to do, which directors to work with and which scripts have potential.

Ah, 'Kismet,' or Carry On Camel, as we called it. I thought the show was shocking. It was the worst designed production ever but it's got a fantastic score. It's not an awfully good book though. You really have to work hard to eke out any laughs from that script.

I am open to any good script and the character I can do justice to.

I ensure that I read the entire script of each project that comes my way. In fact, it is the script alone that evokes my interest in any film.

Having grown up in musical theatre, I know what works and what doesn't.

You read a script, and you know if you need to do it.

For me it's a very organic process. I read the script/hear a narration and pretty much know instantly if it's something I want to be a part of or not. It's really as simple as that.

For 'Dora,' I wasn't sure I wanted to do it. I wanted to go on a serious path. Then I read the script. It's really funny and action-packed. It's almost like a 'Jumanji'-type movie.

The approach I take in selecting a script is based on what I fancy from the the scripts I'm offered.

We had a teacher in school who would organize dramatic shows. And she decided to put on a show about - I don't know whether you remember - 'Ferdinand the Bull', the comic script. However, she decided, you're going to sing Ferdinand, me, as a role.

I get a lot of emails of scripts and pilots, and they want me to give feedback, and sometimes I can't because it's so many.

My No. 1 artistic inspiration in theater is Brian Stokes Mitchell.

You have to look for story. That's obvious. If that's not on the page, you can forget it. But I also read whatever character I'm being offered. And if you can cut them out without it affecting the story, then I say no straight away.

My choice of script is governed by two factors - either I've to like the people associated with the project or the storyline should be interesting. I focus more on the vibe and the type of energy I get from them.

I studied performing arts at college and wanted to act.

Like any other actor, I want to work with good directors, and I always look for good scripts. I've had to say no to some people; I suspect that's the reason I'm called arrogant.

The stuff that is done on Broadway is hardly theatre. It is part magic show, part rock concert, and part conjuring things.

I have always been a person who wanted to act. I have never dreamed about being a hero. I never think of a part as small or big. If I like a script I am offered, I immerse myself into the world it set in.