Quotes About Stage

Comics were always the lowest rung on the ladder, front of cloth at the Royal Variety Performance. What that means is you're only there so Take That can set up behind the curtains.

The Interros strategy toward various assets generally depends on the stage of their development and level of their maturity.

It depends on various things like if the promoters want to have a break so they can sell more T-shirts and booze, then they ask if we can do an interval. I personally prefer not to do that. Once you get onstage, I like to stay there.

The Metropolitan Opera, of course, is the gold standard in opera. The Met experience includes the huge stage, the vast audience, the elaborate sets. Anyone who saw 'Faust' there - I did - knows exactly what hell is like, complete with fire, smoke and terror.

I don't feel I'm fighting to reach this huge audience; it just happens. I go on stage before the audience arrives and look out to this vast empty house. There's something therapeutic about taking in the ring where you'll perform.

I don't have a vast longing for the stage.

People talk about the difference between working on stage and working on film. I think you could say that there are as many differences between working on low budget films and working on big budget films. You really are doing the same thing, but at the same time you're doing something vastly different as well.

I was very interested in vaudeville. It was the only sort of discipline that was a five-minute act on stage, which is what I really enjoyed and saw myself doing. And I bought books on it.

Milton took vaudeville, which, if you look up 'vaudeville' in the dictionary, right alongside of it, it says 'Milton Berle' - and he made it just a tremendous party.

George Burns was a Vaudeville performer I particularly loved.

There were a great many in vaudeville - people who never quite came through. But they had their place, and they filled it. They kept theatres open. Those pan-timers, those interstate-timers, those four-a-dayers, those six-a-dayers - they were an integral part of that endearing merry-go-round called vaudeville.

I once read that in vaudeville, it was often the straight guy who got paid more than the comic because that's the tougher job. He has to set up the jokes in just the right way.

If I was on Broadway, I would want to do anything Vaudeville or a biopic.

If you look at vaudeville in theaters vamping between acts, it was always jokes written and banter in the moment.

I'm a fan of old vaudeville theaters.

I did 'Rock of Ages' when it was in both L.A. and Vegas, playing the lead, Drew.

KISS is Las Vegas entertainment. A musician doesn't need the mask.

In all my years in show business - on stage, clubs and TV shows - my audience has been 75 percent white. In Las Vegas and Atlantic City I look out at the crowd and only see a few black faces here and there. But I can't allow myself to be conscious of the race factor. I couldn't perform my best under those conditions.

I think on a bucket list for a performer is definitely doing a stage show, whether it's in Vegas or on Broadway or whatever.

I've been able to go on and have a successful career on Broadway and certainly the last five years in Las Vegas have been amazing.

When I played the Sahara Hotel in Las Vegas on New Year's Eve, I got to bring Wiley, my 85-pound black lab. He's responsible for my favorite New Year's memory of all: At the end of the show, he ran onstage and then out across all the tables in the showroom, sending champagne glasses and gamblers flying.

When I played with Johnny Cash and Waylon Jennings in Vegas, the guys used to go, 'Dick, cut it out, man! You're moving around too much on this stage. You're making us look bad!'

Second City Las Vegas is very different from Second City in Chicago on the main stage, where they do improv sets. That's how they kind of hone material, kind of work up to new material.

There's something very special about playing Las Vegas, and I never tire of being here.