Tom Stoppard Quotes

I was with the Jessie Bonstelle Stock Company in Detroit and Buffalo for three seasons - 10 performances and a new play every week. She was an amazing woman who did a great deal for me.

As much as the mystery element is all a lot of fun, when you do go to 'Edwin Drood,' you're going to a theatre to see a show about going to a theatre and what that relationship between actors and audiences has been for years.

A friend of mine rang the box office to collect a ticket I'd reserved for her, and the girl said, 'Who's Lesley Manville?'

I would have started the National Actors Theatre 30 years earlier.

I started elocution lessons because I was being teased, and I had a brilliant drama teacher. At the age of 14, I appeared at the National Theatre in 'The Crucible.'

There's not a long, entrenched tradition of theatergoing in Australia.

Part of what I enjoy about the theatre and acting is that sense of history.

As an actress, I think it's important to look back and realize that we aren't always quite as original as we think we are. There's this grand, textured history for us over the last 100 years of incredible writers, directors, and performers.

When Shakespeare was writing, he wasn't writing for stuff to lie on the page; it was supposed to get up and move around.

My second play, The Birthday Party, I wrote in 1958 - or 1957. It was totally destroyed by the critics of the day, who called it an absolute load of rubbish.

I'd seen the current stage production and the 1975 production of Chicago. I liked them both very much, but I didn't use them necessarily as inspiration.

I knew 'Be Our Guest' would be performed on a set and in costume, but anyone with a history in Theatre In Education will know that can mean anything.

Theatre probably originated without texts, but by the time we get to the classical Greek period, theatre has become text-based.

The only theatre I ever saw was Shakespeare.

I came to theatre as a teenager by going to the National Theatre when it was at the Old Vic and sitting on padded seats in the gallery for 15 pence, which was the price of a bus fare.

One of the first plays I ever did was at the Royal Court Theatre in London; it was the first play I got after drama school.

Les Mis' was an amazing experience, to be in the original cast of 'Les Miserables,' and 'Chitty Chitty Bang Bang' God bless it that was fantastic, at the London Palladium the biggest theatre in London the most successful show that has ever been at the London Palladium, that was fantastic.

Basically, we had the idea of doing this production of 'Steel Magnolias,' and we spoke to Queen Latifah about it, and she got excited.

For me, I'm very visually inspired. I'm more inspired by photographs and movies than I am by listening to other music, so for me to create an amazingly intense visual live show is a dream, so I would love to be on that level for sure.

From playwrights I had never heard of and performance forms I had never seen to sculpture and painting, I gained immense experience as an actor in National School of Drama (NSD). I discovered what discipline and good taste in the theatre means.

People forget that even the biggest hit shows, like 'Hamilton,' started off-Broadway.

I was an understudy in a show called 'One Over The Eight' with Kenneth Williams and Sheila Hancock.

I love musicals, and I grew up with them, but the first time I thought I could really do this was when I saw 'In the Heights.'

Plays by Alan Ayckbourn have been attracting larger audiences in the regional theatres than those of Shakespeare.

I was in such a creative groove after turning in my last book (The Andy Cohen Diaries: A Deep Look at a Shallow Year) that I decided to keep writing in the hope that I'd one day do a sequel.