Quotes About Performance

Putting a wig on and a costume and doing a wacky character is always fun.

I had a Jackson 5 wig that I would wear around, and I would do, like, the dances from the Jackson 5, and, you know, my mother thought that was hysterical. So of course, that seed got planted very early, the physicality of comedy.

I once made a giant six-foot can of Crisco that a person had to dance in and that had an Elvis wig on top.

They would glue the wig to the front of my forehead, and after a while it would give me a headache.

Back in the day, when a man in a wig had to 'lip sync for their life,' they relied on a wig reveal, rose petals or picking up their opponent and twirling them around.

I've been acting since I was six. I actually played a boy when I was six in 'Tommy.' I played Tommy and they put a wig on me. They put up my hair and put this little boy wig on me and that was my first acting experience. Then I did some other professional theater. I did Shakespeare when I was older.

As someone who's been doing a lot of classical theater recently, I loved the idea of getting to run around in Steven Alan, and not be in a corset and a wig, and not have a dialect, and get to be in a 90-minute play with no intermission, and get to do real comedy.

In a world of iPads and emails, nothing has really changed in the theatre. You still get in an hour early, do your wardrobe, put an old pair of tights under your wig, and you have, 'This is your call, Miss Jensen'. I got exhilarated by that.

I love getting back to Wivenhoe. I get out of my wig, bustle and costume in three minutes flat at the end of the play before jumping into a taxi outside the theater and catching the train home.

'Venus,' which is a Roger Michell film - my first scene was with Peter O'Toole, and I cried. That was basically my part. I came in, cried in a white wig, and then left.

Once I have a wig on, I become a different person. You can't get Tierra back until the wig comes off.

I can always spot an Australian queen by her high, high end wig. Australian drag queens have the best hair in the world - the best.

Anytime you give a man in a wig a microphone, anything can happen.

Acting, when you don't want to do it or you disagree with everything, is almost like having sex with someone you don't like. I had one experience like that on stage, in a terrible version of The Cherry Orchard. I put on a wig, dark-coloured contacts and just hoped no one would recognise me.

I don't wear a wig. I'd feel terrible onstage with a wig. I hate to be so 'Actors Studio'-ish, but I like to feel it's me out there.

When I first put on the red wig and the red dress, I couldn't believe it was happening. I was like, 'Oh my gosh, this is the dress everyone knows 'Annie' for, and I'm wearing it.'

I've been fortunate. I get to write films. I get to write music in films. I get to play arenas wearing a wig.

I've always said drag queens are like Swiss Army knives. Most come from having to take $50-a-show pay and doing their own costume, wig, music and jokes.

If you give an actor any wiggle room to whine in situations where they want to whine, you're gonna whine.

I reached the stage where I was afraid to wiggle my leg, but then I thought 'why shouldn't I?' It's what I do and now I know how to turn an audience on again.

I guess drag queens, by nature, have to do everything. When you start being a drag queen, you're grabbing the microphone, hosting the shows. Then, you're setting the microphone down and doing the number. You're spending the day before doing your wigs and sewing your costumes. You're doing everything.

Acting is not my favourite thing. I don't like wearing costumes and wigs.

I hate drag. It's extremely uncomfortable. It's awful. I'm in a full corset and pads and giant wigs.

When we first played Max's, people thought Cindy and I were drag queens - we wore these gigantic wigs that sort of his our faces.