Donna Lynne Champlin Quotes

I just love the idea of doing an all-female play on Broadway.

When I was little, I saw the play 'Les Miserables' on Broadway, I thought it was the most amazing thing I have ever seen.

We did a different show every night. We'd open a show, and then two weeks later we'd open the next show. And two weeks later we'd open the third show until we had all eight running. And it was just one of the richest experiences I'd ever had in my theatrical life.

I'm doing 'I Hate My Teenage Daughter' with Katie Finneran and Jaime Pressly.

I saw my first Broadway show when I was 10 years old. I saw 'Big: The Musical' and I remember going out to dinner with my mom afterward and reading the souvenir program like crazy!

I know for a fact that a lot of actors are desperate and unhappy if their careers are not progressing at what they think is the correct rate. They just go crazy if they're not working. I don't feel I'd be that way. You can always get a few people together and put on a play. Maybe not in New York or L.A., but in a lot of other towns, you can.

I think one of my favorite productions ever was Sondheim's 'Assassins' at the Roundabout in 2004. Beyond brilliant.

I have to say, speaking from experience, just because an actor starts out in a role in the workshop, they won't necessarily play it when it goes to Broadway.

The idea of 'Yes on Broadway' has come up. It would reflect the history of Yes.

I was one of those people who watched and videotaped the Tonys every year and kept a highlight reel every year. I saw every Broadway show as a kid.

I did 'Lone Star Love' in 2007 with Randy Quaid, and that was supposed to come to Broadway at the Belasco and a marquee went up and everything... and it all fell apart, and that marquee came right down, and we got severance pay. And, it was very sad.

I loved doing 'Rock of Ages' in N.Y. and that, but its such a large scale, and so many things go into it.

No producer should revive a play unless they have a very good reason for it. I think there's quite enough about a good play to make it available to new audiences.

I'm not denying that it's exciting to have a play on Broadway.

One of my fantasies is to produce 'Auntie Mame' as a play.

A 'Looking' musical would completely bring me back to Broadway. I would come back in a second.

'Hamilton' has restored my faith in theater.

The financial side of Broadway is the easy part. Plenty of people want to put money in a Broadway show. The challenging part is finding the material that excites me enough to spend a couple of years of my life devoted to it.

So in case there was any doubt, I am here to report that having a play on Broadway does not suck.

It takes a damn village to get a show on Broadway!

If anything's going to go wrong, it'd go wrong during 'Peter Pan,' not 'The Sound of Music.'

Gerry Schoenfeld told me 'Les Parents Terribles' was not going to sell, even though we had Kathleen Turner and Jude Law in the cast. So we called it 'Indiscretions.'

During the winter of 2013, we were running 'Comet' up in midtown - as opposed to downtown - and across the street in the Standard, and that was, like, our third time going at it, from Ars Nova to downtown to near Broadway. We weren't on Broadway. We were near Broadway, as we said.

'Next to Normal' was a show many people thought couldn't be done.

When I did 'Spamalot,' the joke was that I was a foot taller than Tim Curry.