I initially told people I wanted to be a dancer and ultimately a "Rockette." I didn't really know what a musical theatre performer was other than the Shirley Temple type.
We both [with Jo Andres] think that it is really important to our culture that we support all kinds of music, all kinds of theatre and all kinds of art because you never know what moves people. We've always believed that there should be a strong voice outside the commercial world. Certainly, the commercial world has a huge place in our culture and we also support that - but, we also want to support the stuff that lives outside of that.
Growing up in Malaysia and England, there wasn't an obvious route into the comics world, so my creative energy went into theatre and prose and then movies and TV.
When I look back at what musical theatre music and show music meant to me, first of all - more than anything - what it meant to me was work. As I was growing up, I realized that singing and performing was my strong suit.
It was sort of in the jam-band era and it was at the Capitol Theatre in Port Chester [New York], right where I grew up. I actually went back there a couple years ago when I was on tour for Kroll Show. I performed at that theater, which was really cool to go back to the first place I'd gone to a concert.
I married him [Chris Sarandon] my senior year, and after I graduated, he went to the Long Wharf Theatre in New Haven, and I tagged along and was doing some local modeling and commercials and things like that. A woman named Jane Oliver, who handled Sylvester Stallone, saw Chris at the theater and asked him to come in and audition. We went in and auditioned - he needed someone to read with him. I read with him, and she said, "Well, why don't both of you come back in the fall."
I was interested in the ways that artists responded to totalitarianism - the Czech Jazz Section, Romanian absurdist theatre, Brecht's alienation effect. The anything-goes, anarchic qualities of jazz and Surrealism seemed to offer a way to cross some of the forbidden frontiers of Eastern Europe.
I used to do puppet theatre and also mime and musical theatre in Florida for competitions and festivals, which was great. I was very much involved in theatre when I was in college.
Growing up in Los Angeles, I was incredibly fortunate to be taken to theatre by my parents to see everything at the Music Center, at UCLA and beyond. I just adored it.
Theatre aside, my penchant for the extended monologue began with my reading of Browning's dramatic monologues, in high school. My inclination to adopt the form for prose was confirmed by Richard Howard's book of dramatic monologues, Untitled Subjects.
...in the theatre the stage keeps the audience aware of the fictional nature of the action. The reader poring over a magazine, on the other hand, identifies what he sees in the photographs as real.
Theatre is organic, film is not. Theatre you come every day and you work with a group of people and you're are all up for it and you all get to do the whole thing every night, be it two hours or three hours. In film you work in two or three minute bits and it's never in chronological order and then someone takes that away and makes it look like it all happened, or that you gave that performance.
I often make the analogy with tennis. Every match the rules are the same, but no game is ever the same. Theatre is like that. Every time is different.
In accordance with the foregoing investigations on mathematical principles, let bronze vessels be made, proportionate to the size of the theatre, and let them be so fashioned that, when touched, they may produce with one another the notes of the fourth, the fifth, and so on up the double octave.
In theatre, you've got to make the connect with your audience in the first three minutes. If you haven't, you know you've almost lost them.
I'm at the National Theatre School, which is like the Juilliard of Canada.
The society girl meets more dangers than the girl on the stage. There is more danger at a tango tea than in the theatre. The actor is less dangerous than the dancing master.
Well, I've always thought that my career was in England, really. I used to do more in the theatre, and I felt that I should be there. It's not far is it? It's amazing the way that special FX have taken a quantum leap in what they're capable of doing.
I have such a passion for theatre.
Maybe all theatre is going to be irrelevant for all time.
When the sun sets beautifully, other beauties rise. Nature is a theatre; when one great player leaves the scene, another great player immediately enters. The play always continues excellently.
We don't want bores in the theatre. We don't want standardised acting, standard actors with standard-shaped legs. Acting needs everybody, cripples, dwarfs and people with noses so long. Give us something that is different.
You can't remember what movie you saw two weeks ago, but you can remember what Broadway show you saw two weeks ago and where you ate dinner - everything about it. There's something about live theatre that hits you in the heart.
I am a woman of theatre, I'm a librarian of theatre and I love all different kinds of music and all different kinds of expressions.
I came up in comics doing lots of DIY self-published stuff, producing my own books, handling all the details of creation and production. And theatre is something that's really attractive to me, as it's a similarly accessible form - it has a lot of the same sort of down-and dirty DIY spirit, where you can make a lot with a little.
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