Betty Buckley

Theater, especially musical theater, is a collaborative endeavor. The success of the venture is about the team.

Broadway has changed tremendously from the early days when the shows were referred to as musical comedies. Musical Theater is now a more expanded art form. Back then, singer/actors were not the norm. From the 60's to now, it is necessary to do it all to be a consummate Broadway performer.

Well, the teacher I studied with for nineteen and a half years was a man named Paul Gavert. He was a great lieder singer, so basically I'm a trained lieder singer because of that teacher. The teacher I currently study with - since 1995 - is Joan Lader, who also studied with Gavert.

It was critical to finding a way out. I had assumed young women knew the history of feminism and must have felt gratitude to the movement for the opportunities that the work we have done has afforded them.

The work that must be done for each woman to reconnect with her psyche and to give herself a chance to live her own life is essentially the same. The realization of the equality of all races, the equality of all beings is essential.

I had gone to acting school for years. It was the kind of thing I had studied to do. I had worked with good coaches and trained to do this my whole life: to be a realistic actress capable of doing truthful work.

The practice of meditation can reveal to you more of your mental capacity.

I am wearing Santo Loquasto's beautiful costumes. I get to stand on stage at 71 years old wearing the most darling dance boots. I am working with my dresser, who is the best dresser on Broadway; he's traveling with me. It's divine. It doesn't get better than this.

Preacher' really appeals to my iconoclastic nature because I'm a student of comparative world religions since my early 20s, so I love shows that really challenge what you think about all these things. I think it's genius. I was so excited there was a role I could play on it.

James McAvoy is one of my favorite actors of all time.

T Bone and I grew up together in Fort Worth, Texas. He had his own recording studio by the time he was seventeen years old. When we were both nineteen he made the first archival recording of my voice.

I had just gotten a job on 'Preacher' on AMC and was in New Orleans starting work on that. My agent called and said 'Are you sitting down?' and I said 'No' and he said 'Scott Rudin wants you to do 'Hello, Dolly!' and all I could say was 'Oh my God, I'll have to call you back.'