Lucas Hedges Quotes

Necessarily, I'm always involved in casting, as any playwright is, because the whole process of putting on a play is a collaborative, organic effort on the part of a bunch of people trying to think alike.

I sit every once in a while and I think about plays and films I can do with William Petersen into our eighties. He's the most incredible scene partner I've ever had.

'Grease' was my Broadway debut. That was eye-opening. At the same time, it was very familiar. It was a Broadway show, but it's kind of the same as doing a show in Minnesota. It's the same type of rehearsal process. You are doing 8 shows a week, but I worked at a theatre in Minnesota that did 11 shows a week.

I love writing plays because they are living, fluid things that are energised by the producer, designers, musicians, actors and audience.

It takes a while to get a show on, and I've a number that have not yet been produced. I want to see all of them produced spectacularly before I pack it in.

In the theater, when people hear that you're writing a play, they want to know what it's all about, whether there's a role for them. You write it fairly quickly, and it becomes a group activity before you're really ready to have company.

I wanted to write plays. I was at Yale graduate school at the time for English literature, not for acting... I liked the idea of collaboration, and I thought if I'm gonna write plays, I should learn something about speaking the lines that I might try to write.

The thing about making a musical is that you can and will be replaceable really quickly.

I want to write a play. I'd like to do an original musical. I should probably put together a poetry collection.

I wouldn't be the same actor if I couldn't do theater.

Launching a Broadway show is like no other endeavor. It's taxing because you're present - it's not like cutting a movie and test focus-grouping it and filling out forms.

I think the only directing I'd be any good at is theatre directing. It's the only thing I can see myself doing.

At the age of 15 I began my singing lessons, and once I became a professional performer, I dove into acting.

I started writing because it was hard to find acting jobs. I didn't like any monologues in auditions, so I started to write my own things. Since then, I have written a couple of shows. I was nominated for playwright of the year for a play I wrote called 'Potential Space.'

Any play is hard to write, and plays are getting harder and harder to get on the stage.

Doing gigs is great, but when you come together for a production in the theatre, that is something I have a lot of respect for.

I've known since day one of working on 'Spring Awakening' - back in 1999 - that it was special.

I love the rehearsal process in the theatre, and the visceral sense of contact and communication with a live audience.

I started - well, in England it works a little bit differently. You have to do Fringe theatre, which is basically free theatre. You do it in pubs and small theaters and village halls across the country, and you work for a theatre company. You're part of a troupe.

I think my experience as an actor helps me to write anything. It certainly helped me to write 'August Osage County.' It helps me to write any play that I'm working on because I think one of the things I do well is write good roles for actors.

What you do, is you gradually become more and more experienced, and more and more realistic about dramatic tolerance, i.e. about how long the play should be.

I started out in summer stock, and that's really what I prefer.

I had a sort of bad experiences as a playwright early on, when directors were putting in huge concepts that I didn't intend, or they were stylizing something that was compromising the play, so I started to think like, 'Well if I'm going to fight against this, I should learn how to direct.'

I had some experience writing collaboratively when I wrote for the theatre.

I wanted to be a Broadway star.