I started in theatre when I was a teenager, and I sort of fell into screen acting by accident because I had friends who were at university studying how to be filmmakers, and they didn't have to pay me to be in their student films.
I have done film, television and theatre - all at a pretty substantial level - I don't think it's possible for American actors to do that.
Theatre is different. We can spend two weeks around a table talking about subtext. In opera, there is a score, and people already know their parts. And they move differently. I find all this liberating.
I grew up in Jackson, Mississippi, really in suburbia, so my mother was in community theatre plays.
We are suffocated by writers who want to enlighten us with their truths. For me, the theatre is beautiful because it is a secret, and secrets seduce us, we all want to share secrets.
Mumbai and Gujarat are the two places that can be termed as the capital of theatre.
I grew up in the theatre. It's where I got my start. Writing a television drama with theatrical dialogue about the theatre is beyond perfection.
In 1973, 'Sizwe Banzi is Dead' and 'The Island,' which I co-wrote with Athol Fugard and Winston Ntshona, transferred from The Royal Court Theatre to the Ambassadors Theatre in the West End.
When I moved to Bengaluru to study law, I was looking forward to joining a theatre troupe.
I kind of got lost down a road of TV and film, so it's great to come back to theatre.
Writing for theatre is certainly different to writing an essay or any other kind of fiction or prose: it's physical. You're also telling a story, but sometimes the story isn't exactly what you intend; maybe you uncover something you had no idea you were going to uncover.
I find the theatre faintly embarrassing for the actors performing on stage. It seems rather showy-off in an undignified way.
Unease is not an emotion I get often in the theatre, and I like it.
American Ballet Theatre's rehearsal studios are at 890 Broadway, an old building where exposed pipes clank and hiss in uneven accompaniment to piano music. The high ceilings wear a toupee of dust. The wall paint peels like a newbie ballerina's toes.
People come to the theatre to be excited and uplifted - I want to inspire my audience.
This visible world is wonderfully to be delighted in, and highly to be esteemed, because it is the theatre of God's righteous Kingdom.
At the same time, television theatre became more visibly active.
Every time I listened to Lux Radio Theatre, I wanted to vomit.
If the purpose of the stumpy little NFT theatre under Waterloo Bridge is not to acquaint young audiences with Ozu, with Ophuels, with D. W. Griffith and with Agnes Varda, then what exactly does it exist for?