Quotes About Theater

Film is something that came later into my life. I had a Jesuit education, and I consider acting and the theater as kind of a calling - a vocation.

I had a Jesuit education, and I consider acting and the theater as kind of a calling - a vocation.

Although my other ambition was to be a musical theater star (and I would attend college on a voice scholarship), writing was never far from my mind.

From the time I made my announcement that I was going to be an actor, I auditioned for community theater, did shows at Greenbrier, interned at the Cleveland Play House for a summer, took voice lessons, took ballet lessons. I did everything that Cleveland allowed me to do - everything that was available to me.

I did get a degree in theater and took some voice-over classes.

I probably became an actor because of my vivid imagination, and doing voice-over really sort of takes me back to that.

I think voiceover is an adjunct that actors have picked up that have given us some security.

My mom thought I might be good for voiceover. She thought I had a cute voice, so maybe I could do a cartoon or something. And while we were looking into that, we also thought I should get into theater acting, so I tried it and the first audition I went on, I booked it. And it kind of just snowballed from there.

In the theater, characters have to cut the umbilical cord from the writer and talk in their own voices.

If the Tony Awards want to remain relevant in the American theater conversation, then they need to embrace the true diversity of voices that populate the American theater.

When we watch a play under the standard circumstances, we've lost volition and time is passing. A still play feels like an existential threat.

When I was 14 or 15, I was a really good volleyball player, so I thought, 'Well, maybe I'll just get a scholarship to an Ivy League school through volleyball.' Then I quit when I decided to focus on theater.

Many people know that Shakespeare's dramatic 'canon' was established in 1623 by the publication of the so-called First Folio. That hefty volume contained thirty-six plays.

I did a lot of theater, so especially as an on-camera camera actor, there are so many things that aren't in your toolbox. They're somebody else's job. You think about editors and rhythm. Volume isn't even in your control.

I was Aladdin, and then I was Captain Von Trapp from 'Sound Of Music' when I was 7 or 8, and then King Arthur. I was always the lead. I've always enjoyed being onstage, acting obnoxious, being someone that wasn't me, hiding behind a character.

I'd seen a play of 'Richard III' in Coventry when I was 15, which sowed the seeds that you could act for a living.

I first wanted to be an actress after seeing a play - not a movie.

An actor like me hardly ever sees a producer. My agent will say, how about Coogan for the part. The producer will say yes. So you never see the producer.

The stage is the last bastion of segregation.

I select good scripts, and every role is an opportunity to enhance my histrionic skills.

I think in any form of acting, you're always well served if you've done theater.

You try, as an actor, to wear a mask; you're serving a story.

I went to art school first and thought that I'm going to design theater sets. That was my path.

I've done seven shows at the Palladium - long running shows I'm talking about.