Neil Patrick Harris Quotes

The idea that the Tony committee and the New York theater community as a whole have embraced 'Billy Elliot' is very, very exciting.

We're trying to get as many people to become interested in seeing it, but if you like the theater and you're interested in seeing what live theater looks like in New York, you probably already set your DVR. It's gonna be a hard ask to get a bunch of college-basketball fans to tune in for three hours to watch the Tonys.

The L.A. theater scene is very different. The perception has been that people who love theater do theater in New York. The people who want to be discovered do theater on the side in L.A. But there are people who are very dedicated to theater who love theater in L.A.

But I can't wait to watch the Tonys this Sunday. I'm really glad Broadway is doing so well this year, especially with its straight plays. It's been a wonderful year.

With the Tonys it's a little tricky because a lot of the funnier jokes are more insider, so people watching at home may not get a Julie Taymor reference the way that New Yorkers would. So you have to figure out what comedy plays to a large audience and still respect the individuals who are there.

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 understood very little about the significance of the Tony before, but I've learned that it makes a huge significance to whether or not your show is going to run.

'Kiss Me, Kate' was my 'Ragtime' Tony.

My pride at being a member of the theater community is deep, and we have a chance to reach a lot of people who might feel like there's a place for them. I want theater to be part of the cultural conversation and be on par with all mediums of television in its ability to be relevant.

The most important thing is that you don't bore the audience.

We never want the audience to get bored.

You know people love a show when they keep coming back.

When I'm in the audience of Broadway shows, I feel like I'm in the presence of something really special with artists working at the height of their craft and doing the best work that they possibly can.

This is magic - the people of Broadway. There's nothing better!

It may take a while, but I think 'On the Town' has the potential for us to break down the boundaries between the traditional theatergoer who may have fond memories of the musical and those with a 'Broadway-is-not-for-me' agenda.

Audiences are not interested in watching singers who stand stiffly and sing for three hours.

'Hamilton' is not just the best musical I've ever seen. It may be the best thing I've ever seen.

Whatever films I make, the mandate is that it should touch the audiences and engage them from the first scene.

You have to keep the audience glued by hook or crook.

People ask me, 'Is there pressure to win a Tony for your next one?' I've got three on my mantelpiece; I'm good. If that's the end of the story, I'm fine.

I feel so fortunate to have grown up in a town like Kansas City that has such a vibrant theater community.

I had begun my professional career when I was 9 years old at the Cleveland Play House, and it was a very specific, real theater sort of like, you know, in England and the Berliner Ensemble - very devoted people. And I thought the theater was the greatest place I had ever been, and that's what I wanted to do.

The hope is that in rediscovering 'Chicago,' audiences will rediscover what theater was. It was sophisticated, complicated, adult.

All this thing that L.A. doesn't have any love for the theater isn't true.

At the end of the day, you are doing the film for the audience.