Casey Nicholaw Quotes

The first big lead that I had on Broadway was in a show called La Strada.

I can't tell you the thrill and joy of when I was cast in my first Broadway show. Granted, it was 'Starlight Express' and it was exhausting, but it was my first time on Broadway, and there was nothing like it.

'Bonnie and Clyde' was the first show and the first role that I got to originate. Being part of that from the ground up and investing three years of my life into seeing that show come to Broadway was really rigorous but also so exciting.

I'd studied dance in Chicago every summer end taught it all winter, and I was well-rounded. I wasn't worried about getting a job on Broadway. In fact, I got one the first week.

I've never danced professionally as a ballet dancer, but all of my training is ballet, and I am a Fosse dancer.

You hear about Broadway your whole life, and I learned what it meant to work on Broadway in 'The Phantom of the Opera.'

'Hairspray' was my first Broadway show. In the meantime, after the show was over, I would go down and do gigs at these clubs that I wasn't even old enough to get into. That continued on, and I think what ended up happening was that I just got these incredible opportunities on Broadway.

I took tap classes growing up.

I went to an arts school as a kid. We had to take dance every other day, along with drama, music and visual arts. However, wearing black tights was something I dreaded... and still have nightmares about it to this day. I think I was a pretty good dancer. I suppose that training helped me land parts in musicals... or has just given me nightmares!

I made my Broadway debut in the revival of Hair and followed it up with the bus and truck tour of Grease.

I've been in dance schools since I was four. I went to the Brit school. I did adverts and plays.

I was really into dancing, taking six classes a week, and my real dream was to be in a Broadway show.

I've tapdanced since I was 11 years old. I always wanted to be a tapdancer, and that's all I ever wanted to be.

I'm heavily involved in the creative with choreographer Christopher Scott. I go to rehearsals with 'Glee' and then practice with LXD till about midnight.

Dancers can get to see almost everything now. When I used to go into companies to make a piece, the dancers had hardly ever seen my work. Now they can watch it on YouTube. It means they're much faster at picking up material.

I was a ballet dancer and that kind of bled into musical theater. I was constantly in rehearsal for one thing or another.

I think the inception of my interest in arts was when I was around 9 or 10 and I started dancing. I was really convinced that I was going to go to New York and be onstage in 'A Chorus Line.'

If I hadn't decided to be a fashion designer, I would have loved to be a Broadway showgirl or a Rockette!

I danced in choruses from about 1959 to 1967, in 'Take Me Along,' 'Wildcat,' and 'Subways Are for Sleeping.'

What's interesting was with all the shows I did on Broadway, I was either the dance captain or the assistant choreographer - I sort of worked my way up to that kind of thing - and I always was interested in more than just the dancers and the numbers. I would always sneak into the room and watch the scene work.

I grew up being a dancer, so I was always doing some sort of dance number, like the Tornado in 'The Wiz.'

'Dancin' was exceptionally significant. I was in an original Broadway show and nominated for a Tony.

I got my Equity Card with my Broadway debut when I did 'Rent.' I was in high school, and I came to New York to do that show.

I'd love to do Broadway. It's funny. I love it, but I've never actually seen an actual Broadway show, not even 'Hairspray.'

Living in New York and doing a Broadway show is a dream come true. I've been training for this ever since I was five years old. Actually doing it and living my dream is incredible.