There is one thing I should say, and it's important: Young Broadway singers and anybody who is an orator of any kind - lawyers who have to speak in court or pastors or anyone who has a lot of stress on their vocal cords: You should do the maintenance. You should do whatever it takes to feel fresh and good.

A lot of films seem to go to the lowest common denominator.

I did 'My Fair Lady' for almost 3 1/2 years, eight performances a week. It was a marathon.

You'd think, of course, it's about the melody - that's a given. But really, I'm no good at singing a song unless it has a good lyric.

If you're not educated to enjoy the arts, if you're not taken to a concert, or you don't hear something beautiful, you don't know what you're missing.

My voice needed oiling, and then it took off.

Touring itself - and I was very young, and a lot of it I did by myself - it's lonely, but it does give you some kind of spine, I think. It does give you some kind of grit.

I really feel very blessed, and I don't forget it, either; there's an awful lot of wonderful talent in this world, and I just seem to be in the right place at the right time.

I was working from a very early age.

I think I'm just proudest to be the lady who was asked to play Mary Poppins. She's such a wonderful character, and there's so much tremendous talent out there. So I feel very lucky to be the one who got to play her.

Who would have thought that a story about a professor of phonetics would result in it being probably one of the great shows ever for musical theatre? It's a seemingly odd subject.

My parents were in Vaudeville, in musical. And I would tour with them and had a couple of wonderfully lucky breaks in England.

Every time I go out to perform, believe me. You never lose that fear of, 'I hope I do it right. I hope I don't fall flat on my face. I hope this will be good for them.'

I have been called a nun with a switchblade where my privacy is concerned. I think there's a point where one says, that's for family, that's for me.

Some of my own books are being developed - one as a Broadway musical.

Let me put it this way: I can sing a hell of an 'Old Man River,' way down in the bass.

My sense of the family history is somewhat sketchy, because my mother kept a great deal to herself.

I did a lot of touring in my youth, and I learnt very quickly that giving is what it's all about. It's about the gift of making an audience feel great and forget their cares, if only for a few hours.

I think that the best way to explain that is that my mother gave me all the color and character and flare and liveliness, and my father gave me all the sanity and nature and all the things that helped me be a more rounded human being.

I was a very sad little girl.

When you are traveling in vaudeville, you experience so many different kinds of audiences, depending on what time of the week it is, how long the pubs have been open, and things like that.

I think it's the essence of any film and any stage production - any work where you do work with other people - of course collaboration is hugely important. One does, for awhile, become family.

'Simeon's Gift' is really - it's about a musician who - in the Middle Ages, who goes out to find his muse.

The loveliest roles, for me, have a growth arc - a beginning, a middle, and an end - and I'm always grateful when I can find one of those emotional journeys.