American - Producer | January 30, 1928 -
The truth of the matter is that I have lasted a long time, and with it comes both good and bad things. One of the good things is that no one can ever take my career away from me. No one can ever say, 'You can't be in the theater any more.'
Harold Prince
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All these actors who died before I was born, all the theaters and the artistic movements - all that stuff fills you up and makes you feel like you're the inheritor of all this information and of all its passion.
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I don't know why the guys with the big money don't find five terrific young producers and give each of them enough to commission a musical and to live on for a year. You'd be likely to get at least one project with a future.
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When I was a 25-year-old kid, I raised $260,000 for my first show, 'The Pajama Game,' in such a homemade, pathetic, endearing way - a buck here, a buck there.
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There are wonderful composers and librettists out there. It's the lack of creative producers that is troubling.
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We've got to find a way to protect the process of making musical theater.
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Ethel Merman would stay with a show for years and tour with it. So would Mary Martin, the great stars. They recognized the value of that success and nurtured it. Now, you come from Hollywood, you play 12 weeks and go away. I don't think that's the best policy.
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I really wish people - maybe it's naive - wish people had priorities and were willing to be artistic patrons.
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I don't think there's a defined contemporary American musical, do you?
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The truth is, for some absurd reason, no one is willing to admit that the interests of the producers and the theater owners are not the same.
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