Quotes About Theater

There are wonderful composers and librettists out there. It's the lack of creative producers that is troubling.

'The Producers' is a sort of a once in a lifetime kind of phenomenon, and I was grateful to be a part of it.

There are always discussions about casting stars in lead roles in theater - especially when you're working with commercial producers - and it's not something I'm against, not at all. But any casting has to be right for the project.

I don't understand how other producers who have no experience making a musical jump in and produce one.

Britain produces great actors because they learn on stage so know their stuff when they get on a movie set.

Producing should be a creative responsibility.

If I was producing something, it wouldn't make sense to me to cast somebody because of who their father is because that doesn't put anyone in the seats in the theatre. I wouldn't go to a movie because that person's father is so and so.

We need to diversify the people who are backstage and producing and marketing these shows. It's the limitations of these people that are holding Broadway back.

So I think I'll say the obvious thing: theater is ephemeral. When a production is done, it's gone forever. You can take pictures of it. You can make a film of it. But it's not the production. It's not the same thing.

I was in a production of 'Macbeth.'

I used to watch a lot of American and British television as a child, which helped teach me the language and accents; it was partly that which landed me the part of Roxy in a London production of 'Chicago' when I was 25.

I know I'm in the exceptional position of having money, but I didn't have it for many decades. I'm always trying to get shows put on for 25 per cent less production costs.

I think the first role I ever played was Mr. Bumble in a production of 'Oliver.'

If you're a child, and you're on Broadway, you automatically know every other child in a production.

I'd seen the current stage production and the 1975 production of Chicago. I liked them both very much, but I didn't use them necessarily as inspiration.

'As You Like It' was the first Shakespeare production I ever did.

My father used to act in high school. He was in a production of 'Othello;' I don't know who he played, but it wasn't Othello. He would talk about it, though, and read Shakespeare to me.

The most likely explanation is the most practical. 'Macbeth' is a very popular play with audiences. If you want to sell out a theater, just mount a production of 'Macbeth'. It's a short play, it's an exciting play, it's easy to understand, and it attracts great acting.

Seeing a new play in a first-time production is so exciting - when it's good, you want to shout from the rooftops.

I was a drama-class nerd. I did whatever school production we put on.

Make no mistake: I love women. I'm married to one, I was birthed by one, and I played one in my high school production of 'Romeo and Juliet.' No one else could fit into the bodice.

The first play I ever saw - I was in junior high school - was a high school production of Noel Coward's 'Blithe Spirit,' which seemed to me absolutely magical.

If I ever see another Shakespeare production where somebody drives a Jeep on stage, I'm going to run screaming up the aisle.

I saw Derek Jacobi play Hamlet when I was 17, and he directed me as Hamlet when I was 27, and I directed him as Claudius in 'Hamlet' when I was 35, and I'm hoping we meet again in some other production of Hamlet before we both toddle off.