Quotes About Performance

It feels good that teams appreciate my versatility and think that I can step in and be that player, making plays all over the field.

Actors on stage, you can go from playing a myriad of roles, from Shakespeare to a Eugene O'Neil drama, and it's the norm. I came up in a world where you're supposed to be able to do three things very well. Act, sing, dance, paint, do something. The emphasis was on versatility.

The challenge is when you're offered similar roles, and you have to play them differently. I don't want people to say, 'She performs similarly in every film. There is no versatility.'

As an actor, you strive to show versatility.

For me, the focus will always be to show my versatility. And sometimes you need to spoon-feed people to show them what you are capable of.

Thankfully, TV has given me another platform to showcase my versatility.

Versatility, quality, good passing... I think all that catches coaches' eyes.

A great actor is independent of the poet, because the supreme essence of feeling does not reside in prose or in verse, but in the accent with which it is delivered.

Do it again on the next verse, and people think you meant it.

I've always been a spontaneous singer. And all the stuff that you hear on the end of the songs, what they call the ad libs - that just comes out of my head. That's not thought out at all. I have the verses and the choruses, and then after that it's total improvisation.

You don't really gotta rap no more; you can just say the verse with a swag now.

Juilliard is wonderful in that they don't pick just one way of working. They give you a palette. There is method acting. There is a lot of attention to Shakespeare and verse.

Music is rhythm, and all theater is rhythm. It's about tempo and change and pulse, whether you're doing a verse play by Shakespeare or a musical.

The turnaround is when you have a solo in betwixt the verses. You stoppin' to have a solo.

Big Sean could get on a verse with anybody and probably annihilate them.

All the modern verse plays, they're terrible; they're mostly about the poetry. It's more important that the play is first.

One of my earliest memories... I knew three full verses of the Star Spangled Banner when I was seven or eight years old. And one of the nuns discovered this phenomenon and I was actually sent around from classroom to classroom to do the whole thing.

I would do musicals in high school where there was dancing, and I would sing my verse, and then they would choreograph it so when I would take an eight-count to back up to the back of the stage while the other dancers covered me up because my body was totally... I was always in newborn-deer mode.

You can always hear me breathing during my verses, but that breathing becomes part of the music.

I adored being at the RSC and working on the verse and getting the iambic pentameter right. You just skim across the surface, and the speech is over before you know it. You can just ride along on the music of it.

I remember Bumpy Knuckles came in wearing all mink everything and said, 'Yo, when I spit my verse, I gotta pull my guns out and aim them.' He was serious! I told him that I was going to duck in the event that those guns accidentally went off. He pulled out the twin glocks, spit his verse in one take and said, 'I've got a meeting to go to' and left!

I did a crazy version of 'Romeo and Juliet' once, and I played Romeo.

Dixie Chicks surprised me with a beautiful three-part harmony version of 'I'll Take Care of You.' And Don Henley's performance of 'The Heart of the Matter' still just slays me every time I hear it.

Everyone in my family is very supportive, and any mention of family in my show is just, in my idea, the funniest version of the family of the guy of who's performing.