I've always found it not only easy, but enjoyable. It's necessary for us to reach out and I'm speaking for myself here. I certainly have a sense of responsibility to reach out to these people in the theatre who might look to someone like me for some guidance.
I'm trying to do the kind of projects that I want to see in the theatre.
At the turn of the century theatre does not have to be prescriptive.
The Old Vic has always been first and foremost an actors theatre, a home for great talent and memorable performances.
When I look around at Broadway and the West End, theatre is becoming an exclusive club.
There are ways in which you can make sure that even if people come to the theatre because they know an actor or actress, by the end, theyve forgotten that, and they leave going, Wow - what an amazing play.
The acting bug just seemed to stick with me. I loved going to theatre school in college and continued to train in film classes and had been auditioning for T.V. and movie roles since I was in my late teens. My career has been slow and steady, and I kind of like it that way.
When you do a film, you get picked up in a car, lunch is free. Theatre is really hard, and you get absolutely no money.
I was trained on stage at NYU in New York City; I did a lot of theatre then.
The first time I came to London on my own, I was 15. I was absolutely oblivious to so many things. I had no expectations, no fears. I just came to do a National Youth Theatre season one summer. It was just brilliant.
Every play should be 90 minutes. There would be so many more theatre-goers if plays were shorter.
Id like to make character-based dramas. I end up writing thrillers a lot - these psychological character-based things with weird people doing horrible things to each other - coming to a theatre near you!
I used to love stage above all, but that was when I was a single man. As I get older, the time commitment gets harder for theatre.
I would love to do anything involving a good strong character, whether its in film, TV or theatre. My dream roles already been taken by Keira Knightley in Pride and Prejudice. Growing up, I really wanted to be Lizzie Bennett.
I was born and raised in Las Vegas, and then I left there to go to the University of Evansville where I majored in theatre.
I combined theatre and films with live TV, such as The Royal Variety Show, performing sketches opposite Bob Hope and Maurice Chevalier.
Ive had plenty of lessons about film acting and theatre acting.
A flop is often the result of the fact that each of the talents involved, while working on the same project, may in effect have been working on a different show from all the others. If all contributors do not share the same vision of the evening, the end product will not evince the harmony of diverse elements-the seeming inevitability of book, score, and staging-of a good musical.
Good plays drive bad playgoers crazy.
Drama - what literature does at night.
Lights are to drama what music is to the lyrics of a song. The greatest part of my success in the theatre I attribute to my feeling for colors, translated into effects of light.
An effective lighting design is like a beautiful painting. Your medium is bringing someone to an emotional state he or she would not achieve at that moment without your art. This does not and can not happen by accident.
Lighting is not about function. It's much more about the mood and the emotion that the playwright and the director are trying to create. Our job is to support their poetic direction.
Oftentimes the quality of the light tells the story: the time of day, the weather, whether sun is streaming through the window. It can also help you appreciate what the actor is feeling, what the playwright wants you to feel. Any engineer can put a spot on someone.
A statement of vision is the overarching purpose, the big dream, the visionary concept-something presently out of reach-so stated that it excites the imagination and chlalenges people to work for something they do not yet know how to do.
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