Theatre Quotes
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We talk about theatre museums filled with old costumes and things. What we also need is a theatre museum of the old routines on videotape. We are only the custodians of those techniques, and they should be preserved.
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By the time I was seven, I did a sonnet at Shakespeare's Globe theatre for Shakespeare's birthday because my dad had been at the first season of the Globe and was friends with the artistic director. Somehow, that lead to me doing a sonnet!
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I came to musical theatre from straight acting, and a lot of my friends have a real prejudice about musical theatre - one I probably shared.
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I live in Los Angeles where there is not that much in the way of theatre, so the La Jolla Playhouse is pretty much the only place that is on my radar, and when they have something going on, and I am available, I will certainly go in.
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What I do is interpret, not create. I may add elements and do something different. That is what is so incredible about theatre. Why do we love it that there are nine Hamletsor six King Lears over two years? We love to watch a different actor attack the same material.
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A career in the theatre demands so much commitment.
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I started out producing theatre in New York.
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What I love is a good role. In the theatre, there is just a canon of extraordinary roles, the quality of character is amazing, but I also love working in front of a camera. It was the first one for me; as a kid I was in front of a camera. I feel at home.
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Musical theatre is my first love.
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I've come to realise that being on 'Strictly' is like being in another theatre company and performing a live production.
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My biggest ambition when I was younger was to appear on stage at what was then Nimrod, which is the theatre where my father used to take me on Sunday afternoons to see matinees. The most extraordinary things used to occur on that stage.
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I went to a lot of theatre. My parents were very involved with the performing arts. I went to nightclub shows when I was a little girl. We went to Florida and we would go to the Cocoanut Grove down there. We'd go see Lena Horne, Jimmy Durante, Sophie Tucker and Judy Garland.
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In Jaipur, I did almost everything from regional theatre to Shakespeare's plays. But when I shifted to Mumbai, I joined Anupam Kher's academy, Actor Prepares,to hone my acting skills.
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There's something wholesome about the theatre.
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Why did I want to become a director? I just had an early interest. My uncle was an actor in a local community theatre, and he ultimately persuaded me and a buddy of mine to come to that theatre, and we went to meet girls, and that turned into interested in kind of behind-the-scenes things, and from that point on, I was focused.
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I didn't want to get into acting just to play bystanders. I feel a bystander enough in my own life. And I do think that theatre can contribute to a certain analysis and commentary on our own world.
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Right before I graduated from the national theatre school, I got the part of Roxie Hart in 'Chicago' in Copenhagen. That led to me playing it here in London. I was 26 when I came over for that. It was the first thing I did as a professional, and it is still the experience of my life.
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A theatre, a literature, an artistic expression that does not speak for its own time has no relevance.
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Scarborough never really began to live until the summer of 1964 when the Beatles played the Futurist Theatre, and no one in the audience, least of all me, heard anything but the screaming.
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I think I'm a better actress for having friends and interests outside the theatre. I wouldn't want to live my life surrounded by other actors all the time.
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I would love to do more theatre, musicals... everything.
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Theatre is a bastard form. I'm always proud of that. That's what makes it taste of life.
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I have always considered it a beautiful metaphor that Cervantes had no fixed address in Spain. He is thus everywhere and nowhere. There are a number of sites connected with his life, but none attract hordes of travellers the way Stratford-upon-Avon and the Globe Theatre in London draw Shakespeare aficionados.
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We need a type of theatre which not only releases the feelings, insights and impulses possible within the particular historical field of human relations in which the action takes place, but employs and encourages those thoughts and feelings which help transform the field itself.
