Quotes About Theater

I did a play in New York at the public theater, a Shakespeare play, and M. Night Shyamalan, who is the writer/director of 'The Village,' came and saw me in the play and asked to go to lunch afterwards.

I wish it was possible to do the work and not have to talk about it, but it is traditional in the theater to go into the village square and bang the drum and say, 'Come see this show, come see this show.'

I want to play a villain - I can't wait to play a villain.

I want to play a villain. I want to play a romantic heroine.

A villain number is a very valuable thing to have, but if you look at most musicals, one way or another there's an antagonist number.

Playing the villain is great fun.

Comedy or villain, the role does not matter as long as it is challenging.

I played every kind of role In Canada except that of a villain.

I will play a villain only if the role is a powerful one.

Well, this is an unfortunate part of the UN institution. It's the - the theater of the absurd. It doesn't only cast Israel as the villain; it often casts real villains in leading roles: Gadhafi's Libya chaired the UN Commission on Human Rights; Saddam's Iraq headed the UN Committee on Disarmament.

I'm theatrically trained. Before Vine, before any of the social media, I was an actor. I was going to auditions; I was taking the classes.

After making my stage debut aged nine as Macduff's small son in 'Macbeth,' I had played a number of parts, from 'Twelfth Night's Viola to 'The Merchant Of Venice's Portia'.

I loved doing Shakespeare. My two favorite roles, in fact, have been Viola in Twelfth Night and Helena in A Midsummer Night's Dream.

When I was very young I was never pretty or beautiful and didn't get the chance to play many parts I'd have loved to tackle: the great Shakespearean parts - Viola, Helena.

People who are powerless make an open theater of violence.

Violence and nonviolence are, after all, two different forms of theater. They both depend and thrive on the response of an audience.

If you read Shakespeare's stage directions, all the gore and violence is right in there.

Violent resistance and nonviolent resistance share one very important thing in common: They are both a form of theater seeking an audience to their cause.

Violent drama has been a hallmark of every great civilization. It is not the cause of the disease - it is an immunizing factor. People go to the theater to experience emotions like fear and loathing. Violent drama shows us where we come from. It makes us face our hypocrisy.

I was trained classically in violin and voice, which led to musical theater. Then I left the music scene to chase acting, which is when 'Neighbours' came along. It was a fantastic playground for actors, and the cast around me taught me a lot.

My parents took me to see plays, starting from when I was very little. Oftentimes, I was too young to understand. I don't know what my parents were thinking - 'Who's Afraid of Virginia Woolf' when I was eight years old, that kind of thing. So lots of times, I didn't understand what was going on, but I just loved the sound of dialogue.

When you think about Broadway, you think broad and big, but the fact is there are so many plays that are very intimate, but fill a 1,500-seat house. Plays like 'Who's Afraid of Virginia Woolf?' have deep moments of silence and intimacy to them.

I grew up in a small town, in a small community, and I would not have had access to great plays when I was a kid were it not for the films of 'Who's Afraid of Virginia Woolf?' and 'Cat on a Hot Tin Roof.'

In school, I was Martha in 'Who's Afraid of Virginia Woolf?' I loved that.