Theatre Quotes
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It hath evermore been the notorious badge of prostituted Strumpets and the lewdest Harlots, to ramble abroad to Plays, to Playhouses; whither no honest, chaste or sober Girls or Women, but only branded Whores and infamous Adulteresses, did usually resort in ancient times.
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There was a saying going around the theatre: It's a train, and you can jump on at any point whether you're a lover of musical theatre or a lover of theatre or a lover of hip-hop or a lover of history - there was a way to jump on the train.
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My father was a director, and my mother and grandparents were actors, so I spent a great deal of my time as a teenager trying to get away from the theatre.
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First, I started taking dance classes, and then I started taking singing lessons. Then my mom put me into a year-round theatre program where I did seven shows.
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There's all that brain work involved, remembering all those lines in a script. I find I have to eat a lot of fish, late - but not too late - in the afternoon. Doing theatre, you need to be like an athlete in training.
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The more everything gets digitalised, the more precious the live experience of going to the theatre is.
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As long as more people will pay admission to a theater to see a naked body than to see a naked brain, the drama will languish.
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There's no question about it: the best theatre is collaboration. The best anything is collaboration.
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'Go Back Home' encompasses not only actual geographic location but also, for me, back home in the worlds of music and theatre, and back home in terms of making albums again. There are lots of meanings to that.
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I started doing theatre, and that's when I really fell in love with the profession; I learned a lot. It felt a bit weird to go from living in New York on Broadway to university, so I kept putting it off. Then, eventually, I had to give up the place.
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I knew nothing about film at all. I suppose the biggest surprise is all these things. In the theatre we sort of do, I might do two or three key interviews and that would be it.
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It's a really good format to have, to go back to theatre and build yourself as an actor. I think it's a great skill to go from screen to stage.
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For the theatre one needs long arms... an artiste with short arms can never make a fine gesture.
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Whether you are a writer or an actor or a stage manager, you are trying to express the complications of life through a shared enterprise. That's what theatre was, always. And live performance shares that with an audience in a specific compact: the play is unfinished unless it has an audience, and they are as important as everyone else.
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I proceeded to prove everybody right as to how bad an economics student I was by failing as an assistant manager in every theatre I went to that hired me, both as an assistant manager and as an actor. I lost money and tickets, and I couldn't keep track of anything. So eventually they fired me from assistant-manager jobs, but kept me on as an actor.
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I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.
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On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.
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I've had plenty of lessons about film acting and theatre acting.
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Is there anything more terrible than a "call"? It affords an occasion for the exchange of the most threadbare commonplaces. Calls and the theatre are the two great centers for the propagation of platitudes.
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I've started painting much more freely, and faster. I think it's working in the theatre that did it. You know what the Glyndebourne scene-painters said about my The Magic Flute? They said they had to wear sunglasses to paint it.
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I have mainly come from a theatre background, I did 'Oliver' here I played the Artful Dodger and I did 'The Sound of Music.'
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The Apollo Theatre was a difficult audience, and if they didn't like you, they would let you know. Luckily, they liked me.
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If you love theatre, do theatre wherever you can, because theatre is theatre, and you can experience it anywhere.
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Onstage, you just have to tell the absolute truth about the character you are playing. You hope you communicate it, and you hope it comes back like a tennis ball. If you're listening to the sound of your own voice, nobody else is. The audience knows, and they freeze on you.
