Quotes About Theater

Well, enforcement theater is OK if it's reality theater. In other words, obviously, you want to make it clear, you want to make people see that the law is being enforced.

I've never gotten hired for drama because I'm a good improviser. I don't think people who write drama scripts want you playing with them as much.

There are two kinds of audiences. There's the ones who were in the theaters, and the ones who are outside and we want them to come inside the theater. And, it's not the same.

When I was ten, I saw 'Grease' on stage and thought: 'I want to be part of that; it looks like so much fun.' My mum enrolled me in a local theatre group, and it all went from there.

One of the challenges was to make a cinematic movie about literally talking heads and to try to make it feel like something you want to see in a theater.

If all the students who slept through lectures were laid end to end, they'd all be a lot more comfortable. If all the world's a stage, I want to operate the trap door.

We can guess that the unacceptable conduct of the soldiers at Abu Ghraib resulted in part from the dangerous state of affairs on the ground in a theater of war.

I feel sure that coups d'état would go much better if there were seats, boxes, and stalls so that one could see what was happening and not miss anything.

Captain Blood, Robin Hood, Don Juan -Flynn had played them all. Sometimes if the mood struck him, he'd even played them well.

Sure no woman's condition ever equalled mine: foppery, folly, avarice and hypocrisy are by turns my constant companions, and I must vary shapes as often as a player

I've done some TV and I've done a lot of theater, obviously, and the last character I played on Broadway was a very fast-talking broad. I'm used to learning material and words.

I loved the stage not because it provided an escape from myself or my humdrum life but because when the curtain went up I could be whoever I wanted to be, and that was true freedom - to be myself.

The stage is not the place to remind the audience that one is human. Illusion is what they are paying for.

With improv or a full length play - you know how you go to a theater, and after 10 minutes you say, 'Oh, I don't like this thing,' but you don't want to get up and leave? At a sketch show, it's always something new every few minutes.

The only reason to do a 'SpongeBob' on Broadway is if it's gonna bring something new to the brand, something new to 'SpongeBob,' and also something innovative to theater and to Broadway.

I'm somewhat old-fashioned, and I still talk about playing a part. I don't talk about my work - 'I've seen some of your work' - there's not much work in it, is there?

You make the money in movies and TV so you can do theater. I do a play a year... somewhere.

I just loved the feeling of performing, of using my imagination to take me somewhere else.

I learned my business in the theater and in television, particularly working with the actors. You can learn much more in the theater than directing a movie, because then you have no time when you are shooting a movie to really work with the actors. You have to learn this craft somewhere else.

Sondheim is New York.

I don't think it's that I don't like Sondheim. It's that I find it really... I don't know how to describe it. Doing it is the most extraordinary thing. Because it's like Shakespeare times 100 with singing. It's that satisfying - and that demanding.

I think one of my favorite productions ever was Sondheim's 'Assassins' at the Roundabout in 2004. Beyond brilliant.

Say you have a young black kid, and you come to see a Sondheim show. You love the material, but you look on stage, and you don't see anyone who looks like you. That puts a barrier between the audience and what they're trying to absorb.

Sondheim has been a part of my musical collective since I was eight. I was a dramatic little kid.