Jamey Sheridan Quotes

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.

But it was not possible to do this movie, in this matter of time, without a solid rehearsal period.

I feel that once you go into rehearsal, you need to focus on the show in the room.

I demanded two weeks of rehearsal because to me as an actor, that's the most important time.

But, yes, I learned everything working in theater. I learned the importance of community - I was constantly going to play readings, stand-up nights, improv. nights.

I have directed good actors and have gone through the process which is more detailed in theater in a way. You have to get people to stay for two or three hours in a performance. They need more talk and rehearsal than in films.

I mean, a lot of time rehearsals are taken up with other things other than preparing a character.

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 am sure if you went back to the days of 'My Fair Lady,' they would have had one public dress rehearsal, and that is it. And in a way, I would like to go back to that.

For me, rehearsal is very important, and I spend a lot of time doing it. Also, I work with my acting teacher for hours and hours before walking onto any set.

It's always ideal if the production that you're taking out on tour is the one that you spent two weeks rehearsing with, and you just do the same show thirty nights in a row.

Good actors can tell you more about your play than 1,000 hours alone at your desk.

But I like the process of putting a show together and the impact that Edinburgh has on me as a performer.

So much about being a director is getting the show ready for that first preview audience. I have a lot of experience making events that only happen once; it's opening and closing night in the same three-hour span.

With plays that require any kind of reading program, I'm reading for a couple of years before using the material.

I love being an actor, doing it all. That's not exciting and controversial, but it's true.

When I was 20, the idea of having a play on anywhere was just beyond my dreams.

I've been in leadership roles on Broadway, and it's one thing to lead a Broadway company - you're with those people for a year straight, and you're doing that same show, eight shows a week. It's quite another when you carry on the story... You go beyond that, and you ride the wave of a character.

You must keep people happy backstage because that affects what's onstage. During a run, the playwright feels like the mayor of a small town filled with noble creatures who have to get out there and make it brand new every night. When a production works, it's unlike any other joy in the world.

With my work, it's not possible to just cast a production and leave it. I have to nurture the group of dancers to make it happen.

I like the idea of conceiving a show and putting on a show, and especially when I got to the place where I could play theaters.

I'm someone who started in the theater and really couldn't stand repeating the show. My favorite part of acting is the five or six weeks of rehearsal that you get. I like doing previews; I like the opening week because my friends and family come, and then after that, I don't want to do it anymore.

Before 'This is Our Youth', I did a week of table reading 'Airline Highway' at Steppenwolf in Chicago while the author, Lisa D'Amour, workshopped it.

My first live performance was the lead in 'Peter Pan.'