Quotes About Theatre

Feudal societies don't create great cinema we have great theatre. The egalitarian societies create great cinema. The Americans, the French. Because equality is sort of what the cinema deals with. It deals with stories which don't fall into 'Everybody in their place and who's who ' and all that. But the theatre's full of that.

When the day is done, and that entrancing hour is come for which some spend many of their waking hours in anticipation, to those blessed with fancy, the curtain of the dark arises, and within the theatre of the Night are played strange comedies.

The most stringent protection of free speech would not protect a man in falsely shouting fire in a theatre and causing a panic. . . . The question in every case is whether the words used are used in such circumstances and are of such a nature as to create a clear and present danger that they will bring about the substantive evils that Congress has a right to prevent.

I had a theatre company years ago when I was a young man, and we would do street theater. This guy did a workshop one day on fire eating, and I participated, and it was just one of those party tricks that you learn. My last endeavor doing that was with the Muppets, back in 1995 or something like that. And I haven't done it since.

Virtually all my conscious life I had been involved in theatre - I had been a child actor - but as a young man who had experienced the 1960s, British theatre seemed remote from my aspirations in life - theatre was still a posh thing, a middle-class thing, something for an elite.

Early British pop was helped tremendously by the writing of Bob Dylan who had proved you could write about political and quite controversial subjects. Certainly what we did followed on from what was happening with the angry young men in the theatre.

The actors nowadays, both young men and young ladies, don't always wear their period clothes as well as they might. They tend to stomp around a bit in them.

It meant the world to see kids excited about theatre. That's the great thing about 'Hamilton' for me is to see young people who wouldn't normally think theatre is cool being really excited about how it works and getting involved.

I coach young people. I have a group called BTP - Broadway Theatre Project.

If you look at the muscularity of something like 'Wicked' and the way it has just spawned sort of generations of young people wanting to get involved in the theatre - it's brilliant.

I started to respect older actors when I was young and then contemporary actors later on. Then I learned respect for comedy. When I was first doing theatre, I thought of it as just a means to become Sarah Bernhardt or someone like that. But acting with young people has been a great learning experience.

Now supposing I had the part of a young woman to give out, one that wanted some excellent acting. If I were to go to the stage for my actress I would have to take a matured woman, one who would act splendidly, but who would look too old for the requirements.

We depend on the critics to give us a glimpse of what happened. Bernard Shaw championed Ibsen, who got the most terrible notices for his plays. Kenneth Tynan championed young writers, and as a result, the theatre has changed radically.

I had to try to understand how much of a taboo it was. My mum worked in ballet and theatre when she was younger, and I had been brought up around lots of gay people, so I had never had any issue and couldn't imagine how hard it was to be out.

I remember a time when I was younger, when if you had to see an actor, you had to go to the theatre and watch a film.

What I love about working on 'Younger' is that it combines some of my favorite elements of both theatre and film.

I think back at the time, if it had been 1988, I would have thought Michael and Sarah probably would have been cast but I don't think, I think it's much better that the girl is younger and if Sarah would have been 26 or 27 then.

My mother was working on her college degree throughout my childhood, and being the youngest in the family, that meant being dragged to a lot of her classes. She majored in playwriting, so I was exposed to theatre from a very young age, and it was just the most magical world to me.

My mother was working on her college degree throughout my childhood, and being the youngest in the family, that meant being dragged to a lot of her classes. She majored in playwriting, so I was exposed to theatre from a very young age, and it was just the most magical world to me. I never really wanted to do anything else.

The only direction I can give to an actor, a good actor who knows his skills, is, 'Here are those words. They're yours. Make them yours. Don't tell the text but be the text.' That means you have to be the emotion of the text.

I used to do a lot of serious theatre during my school and college days. Comedy was only reserved for youth festival and inter-college competitions. Then once 'The Great Indian Laughter Challenge' was launched, a regional channel in Punjab started a program based on that. I participated in it and emerged as the winner.

I was 10, and I played Jim Hawkins in 'Treasure Island' at school, and this great Liverpudlian actor called Andrew Schofield - he was Johnny Rotten in 'Sid And Nancy' - came to watch it, and he had a word with my mum and dad afterwards and told them I should have a go at the Everyman youth theatre. I've never looked back.

You go through a process of refinement and getting rid of the excesses of your early youth in terms of your excitement about what theatre can do.

I went to the Glasgow Youth Theatre and they just let me in. But I was so shy that I was there for about six weeks without actually introducing myself.