Theatre Quotes

When I write, I am not giving a lecture, I am speculating on behavior. Sometimes this is dangerous, but it should be. As I say often, theatre is a dark place and we should keep the light out of it.

Mum wasn't at all religious, but she thought that going to the theatre was as important a ceremonial, communal experience that a person could have.

My operas and my theatre works are very formal pieces.

My playground was the theatre. I'd sit and watch my mother pretend for a living. As a young girl, that's pretty seductive.

Theatre is a sacred space for actors. You are responsible; you are in the driving-seat.

I always go back to theatre. It's probably where I'll draw my last breath.

I've directed enough in the theatre and a couple of films to know that - to feel fairly secure that if I find a story that I really like I can probably get it done somewhat.

It's a scary thing going into the workforce with a $50,000 debt and you've been trained as a classical theatre actor. There's always a depression in the theatre.

You can't go around the theatres handing out cards saying, 'It isn't my fault'. You go onto the next one.

My college training was primarily in theatre, with an eye to becoming a director, actor, or producer.

Most of the competition was into bulk popcorn because of the major increases in the Drive-In Theatre Outlets.

They pulled Resurrection out of the theatres, so it was running in New York and I was nominated for the Oscar and there was no ad in the newspapers to say it was running. So it was literally killed.

It was a different planet in 1967, the Broadway theatre. It had a little ashtray clamped to the back of every seat and the author got 10% of the gross.

I combined theatre and films with live TV, such as The Royal Variety Show, performing sketches opposite Bob Hope and Maurice Chevalier.

The creation of the UCB Theatre is by far my proudest professional accomplishment.

Best performance of the year: Aston Villa v. Milan, September 1994

We try to place the human body in relation to the image all the time, so it's never a kind of a backdrop, but it's more of ...a much more integrative experience.

There's something about doing theatre in London - it sinks a little bit deeper into your soul as an actor. It's something about the tradition of theatre, about performing on the West End stage.

Working on a film, you don't get time to develop rivalries, but the theatre is like a little village, and the differences between me, Lionel and Georgia grew.

The money is better in films and television. But in terms of acting, theatre is more rewarding.

In my collection, to me at least, the theatre of the past lives again and those long-dead playwrights and actors have in me an enthralled audience of one, and I applaud them across the centuries.

I did loads of student films and fringe theatre. I worked for free a lot.

I like the theatre because you paint with broad strokes. To me the theatre is stretching its definition really far.

I've reprised roles in the theatre, which is somehow more accepted, and where one can automatically go deeper and further into the role.

Television theatre, as is implied in its name, should rely on adaptations of scripts written for the theatre.

..you just get stoned, get the ideas in your head and then do 'em. And don't bullshit. I mean that's the thing about doin' that guerrilla theatre. You be prepared to die to prove your point.

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.

We're so bereft of support of theatre in this day and age.

You go through a process of refinement and getting rid of the excesses of your early youth in terms of your excitement about what theatre can do.

What justifies a character singing one idea for 3 minutes on the screen? I get impatient and want the story to carry on. I don't get impatient in the theatre.

Thirty years ago dinner theatre used to be much more of a going concern than it is now.

To maintain one's individuality, integrity, and true personality in the theatre is a big task.

Despite a large body of work in films, TV, theatre and concerts, I am viewed by many as a Jewish artist. I do not resent the label, except for the fact that I disapprove of labels in general.

The primary function of a theatre is not to please itself, or even to please its audience. It is to serve talent.

This visible world is wonderfully to be delighted in, and highly to be esteemed, because it is the theatre of God's righteous Kingdom.

The theatre is supremely fitted to say: 'Behold! These things are.' Yet most dramatists employ it to say: 'This moral truth can be learned from beholding this action.'

I paid my dues at drama school and worked backstage in every theatre in London.

A few years later, my Uncle David took me to the Earle Theatre to hear Duke Ellington.

I'm into parlor dramas. I'm into theatre. I'm trained for the stage. I trained to do Chekhov and Shakespeare, I was trained for the stage.

I have always looked to movies and theatre for inspiration.

Theatre is a series of insurmountable obstacles on the road to imminent disaster.

I've never quite understood the idea of a "season." Whenever an artistic director says to me, 'I have this slot,' I always start to feel we're parking cars or something.

I think theatre should always be somewhat suspect.

I grew up in Jackson, Mississippi, really in suburbia, so my mother was in community theatre plays.

I spent two years in the military service, then I trudged around in repertory for quite a while. I somehow wound up at the National Theatre, though, and then I was definitely on my way.

It's great to be in a film that's able to have people really want to become socially conscious, to walk out of the theatre and want to do something.

In Shakespeare, keep it simple. Don't over-inflect. The speech needs to be naturalistic and simple and accessible as much as possible.

In the theatre, people talk. Talk, talk until the cows come home about journeys of discovery and about what Hazlitt thought of a line of Shakespeare. I can't stand it.

My mother's side of the family was in the production side of theatre. My grandfather, Jose Vega, was a general manager for Neil Simon shows on Broadway.

As in a theatre, the eyes of men, after a well-graced actor leaves the stage, are idly bent on him that enters next.