L.A. is always great. There's something special about L.A. And New York, for me, because it's home. There's nothing quite like walking onstage at Madison Square Garden.
My biggest moments have been in Philly - I met Jay-Z and Beyonce in Philly, I did the Powerhouse in Philly.
Doing the acoustic at Carnegie is basically advised because electric music tends to get, let's just say, acoustically unsound.
If I had money, I would like to get an old building, have music performances, do lithographs, have shows of paintings, and do those things that I'm interested in doing.
The first presentation of my show was given in May, 1883, at Omaha, which I had then chosen as my home. From there we made our first summer tour, visiting practically every important city in the country.
When I first walked into 54 Below, I had this kind of deja vu experience and tried to imagine what this was like back in the day when I would come here at night after doing 'A Chorus Line.'
I think the first time I ever wore a tuxedo was when I played at the Talk Of The Town in 1967, because it was a nightclub and that was the thing to do.
My solo shows require a sit-down, indoor space.
When you think about a festival from a comedian's perspective, it has to do with who else does it - that's number one. The second consideration - and this is kind of crazy - is: 'What's the food like? What is the town like? Is it walkable? Is it easy to get around?'
I definitely enjoy doing big festivals and big shows.
I remember one of the first gigs I played with that amp was at a local church. They wanted someone to fill in with the guitar and my friend say, 'Ah, he can play.' And so I dragged the amplifier down and started playing and everybody started yelling 'turn it down!'
My sister is a singer, my father is a singer.
My first gig was at Radio City Music Hall when I was 13.
I'm a fan of old vaudeville theaters.
Getting to perform at the Carlyle, following in the footsteps of women like Elaine Stritch, Barbara Cook, Christine Ebersole, Kelli O'Hara, and so many others, is nothing short of a dream come true.
I figure it could become a self-fulfilling prophecy; if I make a successful arena rock record, I'll wind up playing arenas! I wouldn't mind being back in that kind of venue because of the kinds of things you can do with production. You can make your shows more interesting, which would be fun to do.
I really love D.C.; it's one of my favorite places to perform. I always say when I come here, I feel like my IQ increases by 20 points.
I'm set to have my best year ever: I'm hiring some acts and there will be a show in the morning, in the afternoon and in the evening. I'm going to use my theater to its fullest potential.
The performance centre is unbelievable, I've had a chance to go there on a couple of occasions in Orlando as it's only about two hours from my house, and I was completely blown away.
One of the reasons why I started creating my solo show is so that I have a place to put all of the accents that I do.
I'd like to have one of my plays on Broadway.
Almost all of what I learned about mounting and hosting a dance show I learned from Dick Clark.
I thought 'Out of Africa' would be a beautiful ballet.
The Smith Center is a theater where you want to keep the lights on. The acoustics are amazing, and this is a stage that was built for sound.
It was great to play for a live audience on a stage.
