What I'm trying to do is find either existing properties or come up with properties or angles or stories which will create music drama. It's my obsession and most of all I would like to remain working in theatre. I think it's very much alive.
I tried theatre. I played Miss Hannigan for a short run of Annie at a regional theatre. That was fun. I enjoyed it! I enjoy theatre and have so much respect for theatre actors.
I started acting as a child in Community Theatre but I didn't do any serious stuff. It was all musicals like 'Annie' and 'Wizard of Oz.' I was always in the chorus.
I was in eighth grade when I did my first Junior Theatre show. I was in 'Annie Get Your Gun' as a dancing Indian.
I hate rules. I hate 'This is the way things are done'. I hate a lack of reinvention. I hate theatre as an archeological exercise. Theatre needs to be urgent.
There have been artists who've sold out arenas one year, and the next they can't fill a theatre. There's always more to achieve.
I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being.
For the theatre one needs long arms; it is better to have them too long than too short. An artiste with short arms can never, never make a fine gesture.
For the theatre one needs long arms... an artiste with short arms can never make a fine gesture.
A theatre, a literature, an artistic expression that does not speak for its own time has no relevance.
It was a different planet in 1967, the Broadway theatre. It had a little ashtray clamped to the back of every seat and the author got 10% of the gross.
There was no real fringe theatre in London until way after the war, so either a play was done secretly with a club licence or it was done openly and had to be assessed along with everything else.
I've played every comedy club and every theatre across the country for the last 25 years and seen a lot of audience members from different ethnic persuasions.
Fortunately, our audiences are used to a kind of boredom in the theatre, and if the writer is skillful, he will flatter them into thinking: 'Why, that's us up there, and aren't we - for all our little foibles - pretty nice guys and gals?'
I have little taste for fashionable dissipations, cards, and dancing; the theatre and tea parties are my aversion, and I look with little envy on those who find their enjoyment in such transitory delights, if delights they may be called.
I love Tim Minchin, Bill Bailey, and Hans Teeuwen, and I'm trying to synthesise elements of theatre into my show a little bit more.
You get used to being lazy doing films, but classical theatre's going to finish me off.
We're so bereft of support of theatre in this day and age.
I want my audience to be constantly captivated, bewitched, so that it leaves the theatre dazed, stunned to be back on the pavement.
Kerri and I met at theatre camp when were 16 years old, which is pretty lame. The rest of us met when we founded the State at New York University in 1988. Most of our adult lives have been spent bickering with these people.