Quotes About Repertory

At 17, I became a member of the Boston Repertory Theatre. I had an opportunity pretty quickly and performed with the theater for six years.

The one thing you can ask, I think, is that actors get paid a living wage. I would like it if all the repertory theatres that currently exist could do that. It would make a huge difference.

I wrote 'The Room', 'The Birthday Party', and 'The Dumb Waiter' in 1957, I was acting all the time in a repertory company, doing all kinds of jobs, traveling to Bournemouth and Torquay and Birmingham.

Peter Hall was just organizing the Royal Shakespeare Company. It was going to be an ensemble, it was going to be in repertory, it was going to have a home in London as well as in the Midlands, and all of those things were happening at that time.

Between New York and L.A., and all of us who are actors, I feel like we're just one big, cast repertory company, all running back and forth between the coasts and between different shows. There is a wealth of great character actors, who show up, here and there, on different shows. I love the fact that we're allowed to do that.

Ballet in September used to be dead as a dodo. Now, with City Ballet's ingenious decision to give us four weeks of repertory in the early fall, having cut down on the relentlessly long spring season when dancers, critics and audiences droop on the vine, we wake up after the dog days of August with something to look at.

I came out of repertory theater, where I worked 50 weeks a year, and I loved working with the people.

It was a better time to be a young actor when I started out. There was a repertory system where you could go and practise.

Those 25 dancers we worked with for a day, in as highly productive a way as possible - a long class, a period of teaching bits of the repertory - in fact I didn't teach Bank, I've used parts of Oil and Water.

I used to do a lot of repertory theater. You're playing different roles all the time, and I love that.

I come out of repertory theatre so I've been working under pressure my whole career.

Then I left school at 16 and worked in Perth Repertory Theatre, which was quite nearby where I lived. And I worked there for about six or seven months, as part of the stage crew.

With repertory, you had to play all these different characters. The range of roles is really what I fell in love with, every night getting to become somebody different. That was my idea of acting, getting to be part of the company and a family.

Each writer is born with a repertory company in his head. Shakespeare has perhaps 20 players. … I have 10 or so, and that's a lot. As you get older, you become more skillful at casting them.

Each writer is born with a repertory company in his head. Shakespeare has perhaps twenty players, and Tennessee Williams has about five, and Samuel Beckett one--and maybe a clone of that one. I have ten or so, and that's a lot. As you get older, you become more skillful at casting them.

Every great dance company, even when it seems poised in perfect balance, needs constant renewal of both repertory and performers.

When I was doing fringe theatre, my ambition was to do repertory. When I got to rep it was to do national theatre; then it was t,o get a couple of parts in television. I never had this great desire to overreach myself. I was too busy enjoying acting. I was just obsessed with it.

I spent two years in the military service, then I trudged around in repertory for quite a while. I somehow wound up at the National Theatre, though, and then I was definitely on my way.

I wanted to be a classical actress. I plodded along. I went to junior college in San Francisco, I was in a Repertory Company. My hero was Eva Le Gallienne, who was a great theater actress at the turn of the century who created her own company, and she wrote these hilarious autobiographies at the time.

Running my show is really like an actor being in repertory but where, in one day in one performance, you do scenes from a drama, a farce, a low comedy and a tragedy.

I was trained in the repertory theater. You would do Moliere one night and Sam Shepard the next.

I feel so sorry for younger actors who aren't able to have the opportunities that I had, starting out in repertory theatre. It's really tough on young actors now.

The heart of the classical repertory is the Tchaikovsky-Petipa 'Sleeping Beauty,' and no ballet is harder to get right.

You go through your career and you find people and cast who you love and you go through and keep them and you never want to let them go because you have a great repertory with them.