Top 40 Michael Arden Quotes

Growing up as a gay boy in West Texas, I definitely felt like a bit of an outcast sometimes – that there was a world that I would never be a part of.

I really enjoy ‘The Beauty Is’ from ‘Light in the Piazza.’

Every decision you make has a consequence.

I often think about what love can inspire in the world, not just in the eyes of the object of your affection.

Helping to open up the conversation about inclusion and diversity in casting has been a dream come true.

I had taken a directing class in high school. Looking back on it now, I think it was all heading that way.

I was lucky enough to make my Broadway debut in ‘Big River.’

As someone who lives with an animal, I think it’s important to learn how to responsibly care for souls who don’t have their own voice. They can’t advocate for themselves.

I would want everyone to love someone in the purest sense of the word – an unconditional love in which you don’t expect anything in return.

When you step off a plane into a place like Haiti, you’re just surrounded by overwhelming stimulus: the people selling you things, asking you to engage.

Say you have a young black kid, and you come to see a Sondheim show. You love the material, but you look on stage, and you don’t see anyone who looks like you. That puts a barrier between the audience and what they’re trying to absorb.

We don’t ever realize how precious life is while we’re living it.

I love Disney.

You can’t ever go back; life is incredibly short and fragile.

It’s my goal to help actors achieve their best work, and I think I speak the same language as actors, so I understand how they do it, and I just love being able to create the playground in which they build their beautiful sandcastle.

It’s exciting to share an art form that I would never have imagined sharing with the deaf community. Doing musicals, it’s not like, ‘Oh, I’ll do a musical with a deaf person.’

The protest that we go to or the time that we stand up for someone or do the right thing – despite its difficulty… We might not see the return of it, but who knows whose lives we can change by doing those things.

There is no distinction, no echelon of actors within a company. A company is only as strong as its weakest link.

Haiti is a proud nation, rich in heritage and spirituality. How they have been able to not only survive but thrive is a testament to how the Haitian people have come together to rebuild, create new families, and care for one another.

My favorite collaborator is Dane Laffrey, who designed the set for ‘Once on This Island,’ but we’ve worked together since high school, when he was my roommate.

At its core, ‘Spring Awakening’ is about the perils of miscommunication and what happens when people are denied a voice.

The most exciting thing I’ve seen is directors not only being open to actors coming in the room with different abilities but actively looking at ways that the story can be enlarged with disabled actors.

Kelli O’Hara is incredible.

I found that the same things I loved about performing were the things I liked about directing and creating a piece – striking a chord that was in tune with the world and was reflecting back what I saw, just from a different angle.

I want to create an environment that actors can be really free in.

My grandparents, Jim and Pat Moore, were an incredible couple. They drove me to the community theater, where I did plays as a kid.

The deaf community has shaped me as an artist and a person, and I am very grateful that I have been able to share and create so much art with a group of people I would have never imagined sharing and creating with. It’s a true testament to the power of theater. There are no walls.

I read ‘Huffington Post’ as if I am a shareholder.

I tend to ask more questions than I should as an actor.

I think all my favorite directors have acted. They understand how an actor thinks.

I think Rafael Nadal is pretty spectacular. I have a feeling he might be part animal.

Sometimes, disaster can inspire ingenuity.

I’m interested in people’s relationship to objects, so I think a lot of my work is very tactile.

My dream would be to have 50 people in a show with each person from a different country.

Unless we build theater and performing arts, then we’re not going to be creating future patrons. We need to make it accessible.

Magic in plays and musicals, I think, is more often created because of the work of an incredible company rather than a single component.

I refuse to go onstage without looking into the eyes and touching everyone I’m working with… we’re all in it together, and everyone’s an equal part when we’re onstage.

I remember sitting at home in West Texas listening to my ‘Songs for a New World’ CD over and over.

The love I have for my husband is intertwined with his, and we are two individuals looking in the same direction – as opposed to staring in each other’s eyes all the time.

I would love to create a piece of theater that is devised by a company of actors and creators that I’d put together, and I’d love for it to be nonverbal so it’s something that someone with any communication ability can enjoy.