Quotes About Theater

I don't mind playing a supporting character if it has some substance.

I'm a great company actor, a great supporting actor. I serve the piece.

There's a fine line between lead actor and supporting actor.

I don't think I've been in a supporting role in any of the plays I've done, ever.

My whole life, not just in my professional career but in community theater, I played the supporting role.

In 1990, I was in 'The Three Sisters' at the Royal Court and won the Clarence Derwent award for my supporting role as Natasha - the prize was £100. I could have paid the gas bill, but I ended up buying a porcelain and silver Bavarian coffee set in an antiques shop in Penzance.

I don't believe in terminologies like 'lead role' or 'supporting role' or 'cameo role,' etc.

I think typically you'd start in a supporting role or an ensemble role, or maybe even an off-Broadway role. So to come into a lead role on Broadway, especially taking over a role that has been played by two phenomenal actors in the past, that is some large shoes to fill.

I think plays deserve other interpretations. They should live on, and other people should should take their hand at them. I'm very supportive of that.

When I was 13, I moved from New Jersey to Germany with my family. The high school was so supportive of my dream to continue with my theater training; instead of taking PE, I would get credit for dance lessons.

The theater community is so incredible, kind, and supportive.

Well, I suppose that, in a sense, every screen role is a favourite with me.

I suppose when I was a kid, and I went to movies, and later went to some plays on my own when I got a little older, in New Orleans, where I was living then, I zeroed in on the actor.

When I first started acting, and we would all sit down and talk about Shakespeare and how great it was. I thought well, I suppose it is.

I had never auditioned for Broadway - any play - and I was not familiar with what you're supposed to do.

When Shakespeare was writing, he wasn't writing for stuff to lie on the page; it was supposed to get up and move around.

In 'Summer and Smoke,' I was supposed to be a plain-Jane wallflower, and instead, I had all these costumes. I looked like a Barbie doll.

I suddenly realized that comedy, for me, was just being honest, and playing it for real. I've seen so many wonderful actors who turn into creatures from another planet when they're told they are supposed to be playing comedy.

Surely we have always acted; it is an instinct inherent in all of us. Some of us are better at it than others, but we all do it.

Surely, you go to the theater because you want to have a great evening in the theater.

I adopted two children, then I got eye disease and five rounds of surgery. I went blind in one eye, then the other eye, and that went on for three or four years. I got very enamored and involved with the theater and did a lot of plays.

In the 1940s, I was doing something called the Equity Library Theater in New York, when a movie company came to see the play I was in and offered me a contract. But the deal was, my nose was too big and they wanted me to have surgery. My jaw was crooked, and I'd have to have that fixed, too. And they didn't like my name; it was too common.

I think it's strange when people my age and younger get surgery. Somebody's got to play old people.

We're not doing brain surgery. We're not saving lives... Even if you're doing Shakespeare, it's still entertainment. We're just entertaining people. We're just doing the stuff that comes on in between the ads.