Quotes About Theater

I've worked with wonderful actors like Marlon Brando and Henry Fonda.

I learned how to turn it on and turn it off. You learn that in theater, too, but for film work, I learned from doing 'Henry,' I learned how to leave work at work and go home. There's always spillover. Actors speak of this.

Woodie King Jr., in 1970, had started a company called the New Federal Theatre, which was ensconced at the Henry Street Settlement. I did a number of plays there, and I auditioned each time. The plays were mostly new. New York was very fertile ground; there was a plethora of African-American plays being done.

Shakespeare is as naturally a part of American culture as it is the British culture; the Americans have a natural interest in their heritage.

I'm an actress. You can hide behind your character when you're acting - you're not being yourself.

I started drama in high school.

As for acting, I took drama lessons when I was in high school.

I did a lot of theater when I was in high school and college. I also did stand-up in college, so it was always part of what I did.

Coming out of school, sometimes people can be theater snobs. I only wanted to do theater, highbrow stuff. But what I learned very quickly is there can be good material in every genre.

I don't think that theater is the higher medium, that it's better than film.

I might have had my highs and lows in cinema and television but in theatre the response has always been positive.

'Harvey' continues to be both a charming and hilarious play.

I began my career with Gujarati and Hindi plays in 1973.

I didn't like the play, but than I saw it under adverse conditions – the curtain was up.

Satire is what closes on Saturday night

If someone would have the goodness to inform me whether I am assisting at a tragedy or a farce I should be grateful

I'll tell you something else too; by the time we're through we shall have had all we can stand of this North woman. I wouldn't mind betting she thinks we have nothing better to do than run around in circles while she gets on with this three-act problem play of hers.

Working on a play is a vibrant and collaborative business. Everyone from the choreographer to the music director to the director to the writers work together toward the same goal, and everyone chimes in on everything.

I don't know other couples that work together a fraction as much as Nick and I do. We met in a play, and we've done TV and movies, and we just did 'Annapurna,' our off-Broadway show, and we've done theater together several times, so it's just a little bit of everything.

I was very driven in high school. I worked a bunch of odd jobs. I never partied. I never drank. I was just a theater geek who was obsessed with movies.

'Dogfight' is my favorite thing I've ever worked on. It's such a special piece, and I'm so close to the character of Rose. I loved doing it every night.

Then, in 2000, John Reid, Elton John's former manager, asked me to audition for the stage version of The Graduate he was producing. So I worked on it, got the part, and after three weeks' rehearsal I was on stage!

I've worked with a lot of wooden actors in my day, but Pinocchio is the best.

Back when you were doing plays like 'The Miracle Worker,' you had 20, 25 people in the cast. When you go to make the film, that's not such a stretch. But when you're doing plays like 'Proof,' it's just five people or something in the thing, and it gets to be a really difficult re-conception.