Edward Albee Quotes

As a kid, I loved 'Godot' because of the poetry and the humor and the strangeness, but then as you get older, it's much more resonant.

I've played Beckett. I put on in the 1950s the first Australian production of 'Waiting for Godot.' I played Estragon. The most interesting conversation I've had about Beckett was with a Dublin taxi driver.

The first play I saw was a Samuel Beckett play which was great.

I'd never done any Beckett before 'Krapp,' and I haven't done any of his other plays since. I've always felt that 'Krapp' is an autobiographical piece.

Samuel Beckett. He is a kind of hero for me.

My favorite playwright is probably Samuel Beckett, and he was always laughing at the abyss.

I belong to that generation who, as students, had before their eyes, and were limited by, a horizon consisting of Marxism, phenomenology and existentialism. For me the break was first Beckett's Waiting for Godot, a breathtaking performance.

I don't think there's been any writer like Samuel Beckett. He's unique. He was a most charming man and I used to send him my plays.

My exposure to Beckett and to late O'Neill was probably important right at the time I gave up poetry and the novel.

I've always been a huge John Guare fan. But Edward Albee - he just can't be beat.

'Waiting for Godot,' when it first came out in 1950, was a very different sort of play to the plays that were in the West End at that time in London, because most of those plays were what we call drawing-room comedies.

I have always been a huge fan of Shakespeare.

I have grown up loving Shakespeare.

Someday I'd love to do Shakespeare.

Everybody gets a little dose of Shakespeare. He's the greatest playwright in the English language, but his politics are fairly square.

When I was a playwright earlier in my career - my senior project in high school was my first produced play - I used to put on the title page: 'A tragedy with laughs.'

Samuel Beckett's 'Waiting for Godot,' billed as 'the laugh sensation of two continents,' made its American debut at the Coconut Grove Playhouse, in Miami, Florida, in 1956. My father, Bert Lahr, was playing Estragon, one of the two bowler-hatted tramps who pass the time in a lunar landscape as they wait in vain for the arrival of a Mr. Godot.

I think that Ionesco's greatest weapon is that he's able to make us laugh at the darkest corners of our souls.

I would enjoy having dinner with the poet/playwright Derek Walcott.

You do develop a taste as an actress: Chekhov, Ayckbourn: it's the combination of comedy and human drama. I would never want to do anything without comedy.

Discovering Samuel Beckett in college was a big deal for me. I realized you could be very funny and very dark at the same time.

I love Charles Fuller.

All theatre is absurd.

Sam Shepard is a brilliant writer.

Estragon: Nothing to be done.