Mankind's common instinct for reality has always held the world to be essentially a theatre for heroism.
When people ask me if musical theatre should be taught in music colleges, I reply that there is no need. All anyone needs to study is the second act of La Boheme because it is the most tightly constructed piece of musical theatre that there is. It is practically director-proof: you can't stage it badly because it just works too well. If you can write La Boheme, you can write anything. I would also recommend studying Britten's Peter Grimes.
When I was 12, I got a manager, but my mom was against it. It took a lot of convincing. But when I got a job at Manhattan Theatre Club, I think she saw how passionate I was about it and that I worked really hard - and now she's super supportive.
Most of my work is okay to look at on a TV screen or a flat screen, but this is actually much better in a theatre.
'Doctor Who' was my first telly job, and before that I did a lot of theatre in education, children's theatre.
Shakespeare has way too many lines. My ideal theatre piece is about 40 minutes long with no interval.
I deliberately look for colorful people. They're very right for theatre. Theatre has to be theatrical. If you can get color into the accountant, you've got something. Write the whole thing first and then say he's an accountant. That's a very wacky accountant, but so what? Theatricality feeds and challenges the actor, the director, and the designers.
The fantastic thing about the theatre is that it can make something be seen that's invisible, and that's where my interest in theatre is- that you can be watching this thing happening with actors and costumes and light and set and language, and even plot, and something emerges from beyond that, and that's the image part that I'm looking for, that sort of added dimension.
I was lucky enough to see the original cast of 'In the Heights.' This one blew my mind. The infusion of Latin, hip hop and rap with musical theatre, great storytelling and talent was a powerful combination to me during a time when I'd not been moved by much!
Part of what I enjoy about the theatre and acting is that sense of history.
It's very important for us because we are viewers, first and foremost. We view more than we make. For us, it's important that the viewing experience is fun and thrilling and exciting and fresh and different. Those are our goals when we are writing something. When you watch it in the theatre, which I hope you will, how will you have the best experience possible? That's really important to us, and is the most thrilling.
I don't leave London, really, and I don't do theatre, because I want to put the kids to bed.
I was never a joiner. I tried - I had people I admired and liked and wanted to hang with, but I ended up starting a theatre company and that took me back to Chicago... I guess I wasn't a scenester in the end. Something must have worked out right, as I'm still here - but I'm only a binge socialite.
I should write a musical. That is probably one of the final areas that I should pay attention to, because it does kind of involve everything. It's got theatre, it's got young, pretty people... And it's got money!
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.
I began playing Branson during the 1992 season and was a little amazed. There were about 30 celebrity theatres there and more are being added all the time.
In a theatre it happened that a fire started off stage. The clown came out to tell the audience. They thought it was a joke and applauded. He told them again, and they became still more hilarious. This is the way, I suppose, that the world will be destroyed-amid the universal hilarity of wits and wags who think it is all a joke.
Book critics or theatre critics can be derisively negative and gain delighted praise for the trenchant with of their review. But in criticisms of religion even clarity ceases to be a virtue and sounds like aggressive hostility. A politician may attack an opponent scathingly across the floor of the House and earn plaudits for his robust pugnacity. But let a soberly reasoning critic of religion employ what would in other contexts sound merely direct or forthright, and it will be described as a 'rant'.
I had been nine years in the theatre and hadn't had massive success. My only thing was I wanted to be an actor and I didn't care when, where, or how much for.
The old guys like me started in the theatre. I was in the theatre for nine years.
An actor is supposed to emulate life. Instead, alas, many are imitating other actors. You don't fashion your knowledge of theatre or your approach to a role on the basis of what other actors have done. This kind of thinking is a great danger, especially in dealing with TV producers who frequently say things like, 'This is a Sean Connery type.'
A friend of mine had his own theatre company, and he jumped me in like I was in a gang. And once I came in, it was just that simple. For the first time in my life, I felt, 'This is a career, this is a life that I think I can grow old doing.' It was love at first sight. I loved being on stage and reading these plays. It was great.
I think I come from a theatrical tradition where, if you look at the great theatrical actors of the British theatre, they took enormous pride in being wildly different from one role to the next. That's the tradition I come from.
Well, it's sort of funny to try and get that balance between just accepting the reality of my friend [co-star Satya Bhabha] flying in from the ceiling of the theatre and like starting to do a dance with demon hipster chicks. It's like, so how do we react when he throws fireballs? Are we surprised? Does this happen a lot?
The fact is that really no comedian sets out to offend you. Some comics enjoy the challenge of taking a subject that is likely to be found offensive and trying to make it funny‚ but the object is still to make you laugh. Offense is only a calculated risk. It's highly unlikely that a comedian whose only goal was to repulse you would ever make it past an open-mic stage, far less build a long career of touring theatres and television appearances.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: