Theatre Quotes
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I'd like more kids to go and see theatre because it really is amazing.
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Film is a much lonelier process than theatre. You really don't have any rehearsal time in film. You don't shape it together... with theatre, there is a complete kind of family atmosphere. The sociable side of this business is the theatrical side, it really isn't the film side.
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In my final year at Bristol University, I wrote a play called 'White Feathers.' It was produced in the studio theatre at the students' union in early 1999, when I was 21. It's 100 pages long: a very traditional play, with an interval, about deserters in the First World War.
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I really do not see why there is not a splendid field for good work on the music hall stage, and if I did not have my own theatre taking up my time, I should rather like to go into it.
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My interest in theatre and storytelling began in my mother's kitchen. It was a meeting place for my mother's large circle of friends.
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I have never seen a game's graphics look so sharp and clean. The sound design for the game is also unique on the Xbox. The memory on this system allowed us to provide the user with 5.1 Dolby surround sound for home theatre owners.
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If I didn't work in television or film, if I didn't have the right look, I never took it personally. Because there was always the theatre. I'm not a nihilist, I'm an optimist. And that has served me well in this profession.
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My parents were so proud when I got a scholarship to go to theatre school - it was unheard of that a coal-miner's son should go to drama school.
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I take great pride in recalling that I could open in a play on Broadway or in London's West End and fill a theatre on the strength of my name - Steed's name.
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I was doing TV work, theatre work, and some film work in the Philippines when I left.
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I feel that I communicate best when I am not deliberately being linear. Along this same line, I feel some of the best sermons I've ever heard were in the theatre rather than the pulpit - as, for example, in the Theatre of the Absurd.
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My first Broadway show wasn't until I was a freshman in high school. It was my first trip to New York. I came with a group of theatre kids, and we saw four shows. The very first one was 'Contact.'
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I wrote my first play when I was nine. It was performed at Hampstead Theatre.
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I acted out a lot. I was very nerdy. I was very isolated, which I made up for by kind of talking and trying to entertain people and get them to like me, so I did theatre and improv in high school and college, but always as a hobby.
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As an actor, I always think that if someone does pick up a phone during a performance, something dire must be happening in their lives that is more important than theatre - some kind of tragedy they were attending to, or something. It's very uncomfortable if you don't know why they would pick up a phone and talk in the middle of a show.
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I have a very 'theatre' face. I have what they call a wide mask. I probably would have been a big film star in the '20s with the silent films where they used a lot of key lighting, and make-up carved out your face.
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When I write songs, I'm just writing stories, and being in musical theatre taught me how to act them out through singing.
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A lot of respect to people who do theatre, but I wouldn't make a good theatre actor is what I feel.
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I've never been that bothered about doing stage or television. I just love doing films. With theatre, it goes on night after night.
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I wasn't allowed to watch regular television when I was growing up, only PBS, so I watched 'Masterpiece Theatre' and a lot of Jane Austen. I loved stories where the girl is attracted to a man and it looks like it's not going to work out.
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I went to college and did theatre. After that, I spent about three years in Seattle doing French theater and community theater and sorting it all out. Then I applied to graduate school and got accepted, so I started pursuing my master's in theatre at the American Conservatory Theatre in San Francisco.
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A lot of my training is in classical theatre; I've done a lot of classical plays in New York and also at the Guthrie and here and there across the country.
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When we'd suggested doing it, the Theatre Royal management had said, 'Nobody wants to see Waiting for Godot.' As it happened, every single ticket was booked for every single performance, and this confirmation that our judgment was right was sweet. Audiences came to us from all over the world. It was amazing.
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One of my beliefs is that there are certain institutions within a community which stand for the spirit and heart of that community, there's the church, the local football team, the local pub and the theatre.
