It wasn't until I did a musical revue in Paris in the 1980s called 'Black and Blue,' and met the great men and women responsible for the progress of tap dance, that my relationship with the dance really began.
At one time musical theater, particularly in the '40s and '50s, was a big source of pop songs. That's how musical theater started, really - it was just a way of linking several pop songs for the stage.
When my father was very young, he performed in Billy Rose's Aquacade.
I started on the stage with my mom in Denmark doing political revues in a small, small town.
I'd seen the current stage production and the 1975 production of Chicago. I liked them both very much, but I didn't use them necessarily as inspiration.
You think, 'Musicals, they must always be romantic' - You'd be surprised how few of them historically have ever been romantic.
The musical theater is a glorious and distinctly American innovation in the history of theater.
Dietz and Schwartz have sort of fallen by the wayside a little bit, and they are up there with Rodgers and Hart and Irving Berlin and Cole Porter. They are the finest of the revue composers - their stuff is so good and so strong.
