My first Broadway show was with Elizabeth Taylor and Maureen Stapleton. Maureen Stapleton, a legend in the theatre; Elizabeth Taylor, a legend, period.
I believe in the American theatre. I believe in its power to inform about the human condition, its power to heal. . . its power to uncover the truths we wrestle from uncertain and sometimes unyielding realities.
I'm a prostitute. Do you know what, it really is basically I just really like to work! I'm thrilled that there's a variety. It's why I got into this business to begin with, because I really don't have the discipline or intellect to have a 9-to-5 job. But I came from a classical music background and I merged that to theatre, it kind of opened up the door to a lot of different possibilities.
I come from the theatre where there are no boundaries to the style you're doing; you're doing Molière, then you're doing Chekhov and then you're doing Arthur Miller in a season and no-one bats an eye.
To be honest, I am not theatre-trained and though I am confident in my skill set, to do theatre requires a better-tuned set of muscles and I sometimes defer to actors who are better trained. But at the times I do want a shot, I'll go for it, especially if the piece speaks to me and the opportunity comes up. The immediate response from a theatre audience is so thrilling, affirming, and soul-feeding; to know how you've affected an audience at curtain can be ego-blowing, both good and bad.
Is she perverted like me? Would she go down on you in a theatre?
Young actors, fear your admirers! Learn in time, from your first steps, to hear, understand and love the cruel truth about yourselves. Find out who can tell you that truth and talk of your art only with those who can tell you the truth.
Shakespeare has way too many lines. My ideal theatre piece is about 40 minutes long with no interval.
First there was the theatre of people and animals, then of people and the devil. Now we need the theatre of people and people.
What I'm trying to do is find either existing properties or come up with properties or angles or stories which will create music drama. It's my obsession and most of all I would like to remain working in theatre. I think it's very much alive.
I call the art of theatre a "dirty art", since there are so many people involved who have needs and whims to be satisfied.
I know one thing - if I didn't have TV and theatre and radio, the world would be a much more boring place.
This is one of the cruelties of the theatre of life; we all think of ourselves as stars and rarely recognize it when we are indeed mere supporting characters or even supernumeraries.
I love musical theatre because I love doing a live performance eight times a week.
I'd like more kids to go and see theatre because it really is amazing.
I trained in the theatre and I love the theatre. I get such a thrill seeing anything in the theatre.
When you're younger you don't care so much, but as you get older you have a family and stuff like that. But I've always kept my foot in theatre and I've kept my foot in independent film, so I'm really happy going back and forth. So, if I can't find the meaty roles in studio films, then I'll go back and dig up a little independent where I can flex my muscles a little bit.
The poetics of the oppressed is essentially the poetics of liberation: the spectator no longer delegates power to the characters either to think or to act in his place. The spectator frees himself; he thinks and acts for himself! Theatre is action!
The bad things about theatre get balanced by the good things in film and vice versa. So to tell you the truth, I love it when I can go back and forth - it feeds different parts of you and exercises different muscles.
I think the great thing about theatre, and if you start in theatre, is that it does build a confidence in poetic themes and ideas.