Quotes About Theater

I love and enjoy playing characters with a comic streak.

As much as like my first love and first entry point into this business is through the theater, it's hard to make a living exclusively in theater, and so you kind of have to branch out and have as many revenue streams, and capacities and possibilities for expression that you can.

At 15 I auditioned for 42nd Street in Australia. Dein Perry was in that show. I actually got the job but I couldn't do it because I was only 15. Legally I needed to have another 15-year-old to cover consecutive nights.

To me, acting is acting... I'd be happy working on a street corner in a mime troupe.

My musician friends could always practice what they loved doing, but I can't go on a street corner and start reciting a monologue. Acting is very collaborative, and you always need other people with you - mainly an audience.

'Death Of A Salesman,' 'Streetcar Named Desire,' these are the things that, when I was growing up, made me want to be an artist.

Streetcar is a most wonderful, wonderful play.

I have a background in theater. At the time I read 'The Loved Ones' script, I was playing Catherine the Great of Russia onstage. Straight after that, I played Stella in 'A Streetcar Named Desire' and Isabella in 'Measure for Measure.'

I would really have liked to have gone to Broadway with 'A Streetcar Named Desire.' I was proud of that.

I'm in the theater because of two plays: 'A Streetcar Named Desire' and 'Death of a Salesman.'

The streets of New York are diverse, but when you go into a Broadway show, unless Denzel Washington is in it, or Fantasia's in it, it's a lot of old white people and gay men.

They were like little palaces: all rococo or art deco. You'd walk in off those hot streets into a nice, air-cooled theater, and you'd spend all day watching Cagney or Jimmy Stewart. It cost all of 17 cents.

I played Nina in 'The Seagull,' and I remember thinking it's incredible to see all the actresses in the past that've played her. It's quite strengthening. You feel a part of the family of actresses going through and giving something of themselves to the role.

As an actor, the first day of any production is the most stressful.

I think I can strike a balance in politics and acting.

I liked being in a smaller theater. I love doing shows of all sizes, but sometimes it's nice to be in a smaller space and to strip away some of the music so that you can be a little less than larger-than-life; you can be a little more naturalistic.

Stage is definitely my home first and foremost - I still feel like I'm yet to earn my stripes on set.

In college, I was a theater and film major at Kansas University. I always had an affinity for comedy. I could probably quote everything from 'Caddyshack,' 'Stripes,' and all those great comedies from the '80s.

What I strive to do is to make the theater experience something that people remember and recall rather than dismiss because it was less like their everyday experiences. So, I'm less interested in internal emotionalism and much more in making the audience laugh and cry by the devices that we use as theater actors.

For a time, I really thought acting was just impersonating. But impersonation is just big brush strokes, really. What makes acting different is empathy.

Stars can never replace strong character actors in roles that demand histrionics.

All good actors are actresses. The more like a woman they are, the better they act, because a man's salvation is his femininity. Women have stronger sensibilities than men, which allows them to go a bit deeper when they are on and off the stage.

Molly Shannon and I used to always talk about that we really felt strongly that we were comedic actors, that we weren't comedians. You just played things real and the comedy came out of the context.

The human mind is a dramatic structure in itself and our society is absolutely saturated with drama.