Theatre Quotes
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The first job I got was a production of 'Fame - the Musical,' at the North Shore Music Theatre in Beverly, Massachusetts, and it got me my Equity card, too. I waited 12 hours to be seen for it, though!
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I don't really know Hollywood, but living and shooting in L.A. was very motivating, inspiring. The lights, the extras, their American faces, the energy, the Orpheum Theatre. It was all very inspiring.
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A lot of people think theatre must be much harder work than film, but anything histrionic or superfluous gets seen on camera so you have to work to distil it into a complete sense of what's true.
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I loved theatre and film when I was growing up in Harpenden, Hertfordshire. My mum's a reflexologist and my dad's a corporate financier.
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I've never done stand-up; I came via small-scale touring theatre, through the Royal Shakespeare Company, the National Theatre, then I got employed on that as an actor who had a humorous sensibility.
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With theatre, we all agree to suspend our disbelief about so many things, but not about race. It's totally OK to have one actor playing five roles - people are willing to believe that. But they won't believe it if there's a black or an Asian kid who has white parents. What does that say about us?
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I come from theatre and I always go back every couple of years.
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I've always tried to not let movie, television or theatre be all that my life is about. I've always tried to get involved in the community or my family now I have kids.
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My operas and my theatre works are very formal pieces.
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You can only do so much theatre.
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This outfit called Los Angeles Theatre Works does readings of plays.
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I'm always keeping an eye out for a period piece. I was trained in theatre, so most of the things we did were classical - Shakespeare, Moliere, and Chekhov.
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I grew up in the theatre. It's where I got my start. Writing a television drama with theatrical dialogue about the theatre is beyond perfection.
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During my theatre days, I was more comfortable doing comedy. It's such an irony. I have always played a buffoon on stage, and yet I don't have any comic role to my credit.
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I started in theatre. I went to the Boston Conservatory and majored in musical theater.
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I had to turn down a part in 'Empire of the Sun.' It would have paid £15,000, which was a year's earnings for me then, but I was offered a season at the 'National Theatre.'
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I've always been short and stocky. So when I got into repertory theatre after graduation, I found myself doing character roles: because of my deep voice, shape and height, I was playing 40-year-old, 50-year-old roles at the age of 23.
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Theatre is all about the process and the sense of community that is created. You have weeks of rehearsal, time to explore your character and get to know the other actors. There is opportunity to try off-the-wall ideas, to find layers and nuance over weeks. You become like a second family with your cast.
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I don't want my work to be heavy. The challenge is to make it interesting and engaging, keeping in mind the need for method acting. This is what I have learnt from Bharat Muni's 'Natya Shastra' and from the Russian theatre legend Stanislavsky.
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I grew up performing in theatre.
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What I love about working on 'Younger' is that it combines some of my favorite elements of both theatre and film.
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This film business, perhaps more so in America than in Europe, has always been about young sexuality. It's not true of theatre, but in America, film audiences are young. It's not an intellectual cinema in America.
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In the daytime, I was studying at school and in the evenings, I was a stage kid. I was trained in theatre and public speaking. I was a really active kid.
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I really believe at the end of the day, regardless of how noble you are or how patriotic the film might be, it has to serve as entertainment in order for your audiences to come into the theatre and watch it. Otherwise, audiences will wait and see it a few months later when it is premiered on television.
