Theatre Quotes
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When I was eight, I went to the theatre, and I remember looking at the stage afterward and pointing and saying, 'I want to do that.' I don't think that's ever changed.
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You go to the cinema and you realize you're watching the third act. There is no first or second act. There is this massive film-making where you spend this incredible amount of money and play right to the demographic. You can tell how much money the film is going to make by how it does on the first weekend. The whole culture is in the crap house. It's not just true in the movies, it's also true in the theater.
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This theatre is your theatre. You are responsible for its creation and its progress.
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I don't think people should be priced out of going to the theatre... But we have to recognise that it is a show business.
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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 didn't particularly aim to be a Shakespeare actor, but I suppose I had a certain gift or it; I certainly got offered lots of it. I liked Complicite and Shared Experience and Kick Theatre, and all the small theatre companies that were getting going. I wanted to be like that, making original theatre.
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I've done music as a hobby, either in musical theater or just jamming with friends, pretty much for as long as I can remember.
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I love the instantaneous nature of filming rather than the repetition of working in the theatre, but that maybe because I haven't had great experiences working in the theatre.
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All I'm saying is that there are many different kinds of political theatre and many plays I greatly admire: 'Antigone,' 'Mother Courage,' 'All My Sons.' But, if I tackle a political theme, I have to do it in my own way.
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I think theatre helped, only because it was acting experience. I got to work with a lot of directors.
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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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When I started off as an actress, I did at a play at the Taper Too Theatre here in Los Angeles, called 'In The Abyss Of Coney Island.' That was more of a dramatic play. It was a small theater house. This was the first time I was literally on the road, doing a play, for four months.
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Next time I do a play, I want to go out of town. I don't like the idea of opening in New York. I don't have to do theatre, but if you're going to do it, you should do it well. These days, everything has to be up and running in five minutes. As a result, the rehearsal time is missing.
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I've learned, having been on a lot of sets, the good news is that by definition you are surrounded by experts. They get fired if they're not - unlike in the theatre!
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Actors already striving in the theatre wouldn't dream of putting themselves on these shows; it means that only about 10% of the talent out there is being auditioned for parts.
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I was really, really, really enthusiastic as a kid. I was up for anything. I was hugely into music and theatre. I was a big musical theatre kid; I loved reading.
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When I came on the scene, there was The Nualas, who were doing character comedy, but there weren't any other women doing stand-up because Michelle Read had gone more into theatre.
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The 16th-century theatre witnessed the particularly English manifestation of 'the history play.' There can be no doubt that Shakespeare's presentations of 'Henry V' and 'Richard III' have been incalculably more influential than any more sober historical study.
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My first role was in the George Gershwin musical 'Crazy for You' at the Orlando Repertory Theatre when I was 11 - I grew up in Florida - and I wasn't old enough to be in it, but they let me anyway. I was just this little shrimp in a leotard.
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It's a whole different kind of anxiety. But the great thing about doing a theatre job is that once the ball starts rolling you just have to go with it, it's inexorable.
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It's pretty easy in theatre. The comedy's either physical or verbal, and you're looking at the whole frame at once. But TV executives want close-ups. I keep telling them to look at Preston Sturges' movies. He'll do a whole scene without a cut in it, and it's a riot.
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Filling a theatre like the Olympia or Vicar Street on your own name is a very rewarding moment.
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When I look at what I'm doing today, I see [the] roots in my college life. I was the online editor of my college paper and an active member of the Harvard Computer Society. I abandoned a summer internship at the Washington Post due to injury and instead did theatre. I found my comedic voice through satirical newsletters in college.
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My dad worked for a theatre company that was two minutes away from my primary school, so I'd just walk there after school and watch the rehearsals. I think that's probably when I fell in love with acting and telling stories.
