Quotes About Theater

I have always been interested in theater, as an actor and as someone who looks upon theater - at the risk of sounding pretentious - as an icon by which we measure society... My life has been in the theater to an extent. It's only an extension to write, direct, produce, whatever.

Most actors really love it, that's what they want to do. They burn to do it. And so they'll read a script and think, that's an interesting part. And because they love acting, that blinds them to the fact that the rest of it is pretentious nonsense, which it very often is.

I was given a mask of myself by Frances Barber when we opened 'Julius Caesar.' I looked much younger and prettier. Wearing it was certainly cheaper than Botox.

I have always been dramatic, so I think being an actress comes naturally to me. I think I am pretty good at it.

I'm not a singer or a dancer, my Broadway dreams are ridiculous.

I've been an actor since I was 12 and my dream role is Sally Bowles in 'Cabaret.' What's crazy is that I'm not a great singer or dancer but I'll commit.

I think if I were to go back on stage I might be in great danger of acting.

When I saw John Turturro in 'Danny and the Deep Blue Sea,' I realized that was the kind of actor I wanted to be.

I was not born into the world of the stuntman and the daredevil; I was born into the world of theater and writing and sculpting and classical music.

I hardly ever see new plays. They don't have the audacity and daring that they used to.

Acting by yourself is pretty darn hard, especially having to do physical comedy.

I was living in Seattle. I was 21 years old, just going to do theater. And I got a call that David Lynch was in town and wanted to meet with me.

I'd always fantasized about writing a new play. Even when I had all this success in television, what I was daydreaming about in my dressing room is that one day I would do it.

Has anybody ever seen a dramatic critic in the daytime? Of course not. They come out after dark, up to no good.

You're always dealing with emotions as an actor.

Whether the theater is 1,000 seats or 500 seats or 200 seats, you have to make sure the person in the back of the theater can hear you and understand you. So there's a lot of articulation and a lot of voice in theater that really just isn't necessary when it comes to dealing with the camera.

Mohan No Masalo' is a play very dear to me.

Whether that's positive or not, people are talking about the Old Vic Theater again with passion and commitment and controversy and debate.

A debate is a very specific kind of performance.

For me, you could say my big West End debut was 'Cursed Child,' but I'm in my 40s, and it's like, 'When is that beginning?'

The magnitude of being able to make my Broadway debut as SpongeBob in 'SpongeBob SquarePants' really only started to hit me when we took it out of town.

I was lucky enough to make my Broadway debut in 'Big River.'

Making my Broadway debut was, in and of itself, just a dream come true. I've wanted to be on Broadway forever.

It would be fun to be eighty-five and have a Broadway debut. That's the goal I'm shooting for. When they revive 'Driving Miss Daisy' for the seven-hundredth time.