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Transcript of Harold Prince
"The King of the Broadway Musical Harold "Hal" Prince Early Life Harold Prince was born in New York City on January 30th, 1928, where he was adopted by Milton A. Prince and Blanche Stern. His parents were huge fans of the theater, and Hal shortly fell in love. His start in the Theatre Hal started off as an office assistant in a theater, and was lucky enough to meet some of the most important names in Broadway history, including Leonard Bernstein and George Abbott, who would ultimately take him under his wing. More Works Prince and Griffith continued to produce great musicals, including "Damn Yankees" and "West Side Story." When Griffith died in 1961, Prince decided it was his time to get onto the directing scene References http://ibdb.com/person.php?id=15921
http://www.achievement.org/autodoc/page/pri0int-8 He attended the University of Pennsylvania at age 16, and graduated at only 19 years old. As soon as he graduated, he knew he had to get into the world of the theater. He started to get very involved with Abbott's work, including stage managing his shows. In the 1950s, however, he wanted to try something new: producing. He teamed up with Robert E. Griffith to produce, Abbott directed, and Bob Fosse choreographed. The result was "The Pajama Game", which won a Tony for Best Musical that year. His first successful directing project was "She Loves Me," and it even got him a Tony nomination. His first ever Tony for Best Directing was from "Cabaret," and from then on he was a non-stop machine. More credits include: "Zorba", "Company", "A Little Night Music", "Sweeney Todd", "Evita", "Phantom of the Opera", "Kiss of the Spider Woman", and more. He currently holds 21 Tonys, both for producing and directing musicals. He was--and still is--a non-stopable directing machine. Food For Thought from the King "But really what interests me is the future of musical theater. Revivals cut off that potential.
I don't know why people don't want to take the chance. Audiences are very willing to be taken somewhere, and to ask an audience beforehand what it wants is probably, I think, a mistake. Much better you should tell them what you want and hope they agree with it."