The Mary Tyler Moore Show.
This is so much better than flying on a balance beam or on the uneven bars, where you don't have the fairy dust to keep you up. And it was just such a great sense of freedom.
I will miss it terribly because it's been a fabulous run for me, but there are other things I want to do. It's one of those roles that is so amazingly physically demanding. I would never want to do it halfway. I think it's the best it can be right now, and I don't want it to be anything but that.
They are sweating as much as anyone onstage. Their focus has to be that of somebody working on the balance beam. We're all three in sync. We have to feel what the other is doing. One lifts me up, the other, side to side. They're like puppeteers almost.
You're just into it at that point and you're alive on stage and you get away with mischief and good stuff and you know, I don't know many adults who get to do that.
So it really does have a sort of bittersweet quality. Kids like to have adventures and to believe they can fly, but there's also that fear about people leaving you.
An athlete learns how to hold her breath, but that doesn't work in singing. You have to learn to relax.
It's that athlete's obsessiveness - the need to prove yourself and work harder than anybody else. I think it's what helped me do well in the theater.
I grew up in a sport that didn't allow you to grow up. There was always the threat of younger competition. So you had to maintain the image of youth.
There's so much denial in gymnastics. It's a beautiful sport but the other part is numbing. You become machinelike.
Our athletes are our heroes.
I would climb on roofs and jump off using my parents' bed sheet, hoping it would open like a parachute. I was always getting hurt, breaking a leg, you know, bruising, cracking my head open.