Richard Foreman Quotes

There are so many remarkable playwrights working right now, that I see everything I can. Annie Baker is a genius, I'll see anything she writes. The same for Lynn Nottage, Cynthia Hopkins, and Lisa D'Amour. Anything they've got going on, I'll go see.

I love going to Broadway shows.

I've always loved going to see Broadway shows. I've seen 'em all: Rent, Chorus Line, Cats, West Side Story, Guys & Dolls, Wicked, you name it!

In the summer of 2009, I was at the Shakespeare lab at the public theater in New York.

You hear about Broadway your whole life, and I learned what it meant to work on Broadway in 'The Phantom of the Opera.'

I go to a lot of plays. I tend to prefer the off-Broadway and off-off-Broadway more than the Broadway shows. That's where I see people that I might not know.

My first acting class was taught by a little known playwright, David Mamet, who then cast me in my first play, opposite John Malkovich.

My mom was an actress in the local Seattle theater doing experimental plays.

I could see no position to say, 'I'm going to make a living as a writer.' But I went to classes for it; I read every play in 'Theater' magazine. I saw the second acts of everything on Broadway - I had a job as a CBS usher in New York City, and on my way home every night, I'd see what shows I could get into.

When I was about 12, I saw Mark Rylance do this play in New York City called 'Jerusalem' and that really changed the game for me.

I wrote 'The Room', 'The Birthday Party', and 'The Dumb Waiter' in 1957, I was acting all the time in a repertory company, doing all kinds of jobs, traveling to Bournemouth and Torquay and Birmingham.

I knew I wanted to act since I was 10, but I didn't actually start acting until I was in high school. My favorite play was 'Lilies of the Field.'

Broadway's never my end goal because of the plays I write. These are tough plays. Of course there's a lot of humor, but my goal is just to reach as wide an audience as possible, however that happens.

I've essentially done theater for more of my life than I've done television or film, and it's really something I feel I know better.

Success has a lot of different plateaus. But I first felt really proud of myself when I was doing an off-Broadway production in New York City.

Before I did any television or film, I did years and years of theater. Television and film stuff, even though it went on for a good, healthy number of years, almost felt like a diversion from theater.

I went to the Experimental Theater Wing at NYU and wrote and directed a small amount of stuff there.

When you're 19 and writing plays, you think every actor is full of it. They just can't handle your brilliant material.

It was 1976, and I was acting off-Broadway with a pair of Canadians: Victor Garber and Gale Garnett. The play was called 'Cracks,' and Martin Sherman, the man who wrote it, went on a few years later to have a giant hit with 'Bent.' But not this time around. Opening night was a disaster.

My golden dream was to move to New York and live in the Village and become that cool rebel beatnik Jack Kerouac.

I went to New York University to study experimental theatre in 2006 and was there pretty consistently until 2011.

A lot of American playwrights seem to have a career as a playwright. I don't consider it a career at all.

I wrote my first play when I was nine. It was performed at Hampstead Theatre.

I have a nice little movie career, and I write plays and do my act.

The Huntington Theatre has a really fine reputation. I was keenly aware of how well thought of they are and that they develop and support new plays.