Quotes About Theater

I didn't become an actor for the money, so I can't stay with a job for that reason. I did too many years of theater where you just get by from month to month, happily, to make that a priority.

In subsidized theater, you are encouraged to take risks. It's about being imaginative and artistic. That's the priority. It might not be a success, but let's try.

I just did a play in New York which has been my best experience that I've had for maybe ever. It was Paul Weitz's play called Privilege and I was in New York for three months.

I was very intense. I think it's a privilege to be an actor.

I'm very aware of the fact that Broadway musicals being brought to the screen are very few and far between, and it's important to continue that relationship between Broadway and film. It's a privilege and an honor for me to be instrumental in some way in keeping that alive.

In a world without any criticism at all, although there are many actors who would think they would be delighted to see that happen, would in fact be a far more problematic world than they could ever imagine.

I'd like to continue to act and also produce.

'Killer Joe' was originally written in 1991 and first produced in '93 at the Next Theater's Lab - a 40 seat black box theater in Evanston, Illinois - back when I was getting started. I was just 25 and I had been acting for awhile, but it was my first play and the one that really got me noticed, especially by Steppenwolf.

The English playwrights of the '50s and '60s didn't really keep writing or getting produced, while the Irish did. There's encouragement for the younger ones also in the fact that Ireland is exceptional in its ability to make theater part of the national dialogue, and it reaches to all four corners of the country.

I am an internationally produced playwright.

Two of the first plays I saw after I arrived in Britain were 'King Lear' in Liverpool, and 'Antony and Cleopatra' at Stratford. One was produced with hardly a backdrop and the other with gigantic scene changes. I was impressed by what connected the two: the words and their life beyond the stage.

My interest in the theater led me to my first writing experience as an adult. My husband David wrote the music and lyrics and I wrote the book for a children's musical, 'Spacenapped' that was produced by a neighborhood theater in Brooklyn.

It takes a while to get a show on, and I've a number that have not yet been produced. I want to see all of them produced spectacularly before I pack it in.

The ghastly thing about being a producer is that, once the curtain goes up, there is nothing you can do. At least when you are in it, you have some measure of control. If something goes wrong, you can maybe put it right. When you are in the audience, there is nothing you can do.

My mum's father was a producer and her mother was an actress, so my mum was fully behind me going into acting.

The difference with doing a play is that you are in control. In film you are in the hands of the director and the editor and the producer.

I didn't go into the theater to be a producer, I went into the theater to be a director.

It's always been a dream of mine to be Ginger Rogers or Cyd Charisse, and here I am performing alongside Robert Lindsay and being directed by a major Broadway producer. Who said dreams don't come true?

With a musical, you kind of have to do a mind-meld with the book-writer, the lyricist, the composer, the director - sometimes the producer. I think that's a reason why musicals are the hardest form.

I love writing plays because they are living, fluid things that are energised by the producer, designers, musicians, actors and audience.

I loved doing casting because I love actors, and I am very conscious of what actors do. But I always wanted to be a producer.

Playwriting gets into your blood and you can't stop it. At least not until the producers or the public tell you to.

Nowadays, there are sometimes more producers than there are people in the cast, because it takes that much money to put a show on.

There's a lot of pressure on Broadway. There's this feeling that the show has to be a commercial success and the producers have to make their money back and Tonys and blah, blah, blah, blah, blah.