Originally what I used to love was being on a stage and reacting to a live audience and maybe my calling is more in theatre.
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.
The idea for Anthem the play began over twenty years ago. I was assisting in the production of another Ayn Rand work, Ideal. I moved to New York and began working on producing the play with my partners. And as a way to raise money to cover some venture debt, we decided to stage Anthem for a limited run at the Lex Theatre in Hollywood.
If Anthem finds an audience in New York City, my hope would be to see the play transferred to a commercial theatre for an open-ended run.
When a culture is being dumbed down as effectively as ours is, its narrative arts (literature, film, theatre) seem to vacillate between the brutal and the bland, sometimes in the same work.
My greatest experiences in the theatre and the most religious experiences in my life - of which going to the opera is one for me - have been with the Romantic composers' repertoire: it's Wagner, it's Strauss, Verdi, Puccini. That era gets me every time.
I was a tomboy growing up and then fell into the world of theatre and musical theatre. A girlfriend introduced me to yoga in college and I was hooked. I didn't really know anything about it except that it was the highlight of my week. I ended up graduating from the University of Virginia and moving to Los Angeles where I could continue acting and do a yoga teacher training. I went from practicing once or twice a week to several hours everyday. I loved it.
When I look at what I'm doing today, I see [the] roots in my college life. I was the online editor of my college paper and an active member of the Harvard Computer Society. I abandoned a summer internship at the Washington Post due to injury and instead did theatre. I found my comedic voice through satirical newsletters in college.
All movies in China are censored. Out of 600 movies produced in China, only 60 are allowed to show in theatres.
My parents never mentioned anything about fashion in our household, instead we used to talk about literature, theatre, and arts...this is why I have kept a real relation with the Art world, by putting books from the beginning in my shops' windows.
Where we're telling the story of the history of the ensemblist [in the "Ensemblist Essentials"], using the nine musicals that have won the Pulitzer Prize for Drama as fixed points in time We're going from 1931 to 2016 and using these shows to talk about what the typical show was like for an ensemblist at the time; did this show change anything about that job, while it was changing everything about the way theatre was written and produced and made?
The biggest possible thing that we're trying to do is change the conversation about what it means to be a working artist today, and hopefully, as the generation of performers that is training and listening to our show at the same time comes up, and becomes a working generation of performers listening to our show-hopefully that's going to change some of the ways they're looking at the hierarchy of theatre and start to blur those lines a bit more.
We haven't truly had a zeitgeisty, 'songs on the radio' show, since...I want to say "One Night in Bangkok" was the last musical theatre song that charted. That was so long ago.
I trust Angela Merkel, she is a very open person. She is also subject to certain constraints and limitations. But she is honestly trying to settle the crisis, also in the south-east of Ukraine. However, what the European Union is doing with those sanctions is nothing but a theatre of the absurd.
Our intention is to develop music, theatre and exhibition activities on the Far Eastern regions.
We are going to set up a branch of the St Petersburg Mariinsky Theatre here [on the Far Easter]. We are also planning to open local branches of the Hermitage Museum and the Vaganova Academy of Russian Ballet.
Glorious bouquets and storms of applause are the trimmings which every artist naturally enjoys. but to move an audience in such a role, to hear in the applause that unmistakable note which breaks through good theatre manners and comes from the heart, is to feel that you have won through to life itself. Such pleasure does not vanish with the fall of the curtain, but becomes part of one's own life.
There are two kinds of theatre, good and bad. Much as I should like to see theatre in America, I would rather have no theatre than bad theatre. What we must strive for is perfection and come as close to it as is humanly possible.
The sole aim of the arts of scene-designing, costuming, lighting, is to enhance the natural powers of the actor.
I knew 'Be Our Guest' would be performed on a set and in costume, but anyone with a history in Theatre In Education will know that can mean anything.
The thing is, is that I hate theatre, but it was how I learnt to sing.
I love to act, so the only way I could act was through community theatre and they would just do musicals. My musical upbringing was show-tunes and it sucks and I have been trying to get away from it ever since.
Of course the Disney movies, you know all the soundtracks, and anything Gene Kelly and Fred Astaire were doing - Singing in the Rain was one of my favorite musicals I used to watch a lot because my mom came from a theatre background.
I like to do variations of all kinds of different work. One of my roles in Israel was for the theatre - Romeo & Juliet. So from that role I went to - I was playing, I believe her name was Amanda in the U.S., on "Ugly Betty."
We didn't have a movie theatre until I was about nine, so I just didn't see them. But, once I got into movies I loved them.
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