Phillipa Soo Quotes

I think my best teacher and my best study was theater in general. It taught me a lot of patience and a lot of hard work, and I think that theater teaches you that you've got to know your stuff because you only get one chance.

I think one of the mistakes actors make is we're so focused on what we're going to say.

I don't think I'm sharp enough to not prepare and come on set and kill it.

I warm up at home. I hit the stage, I'm ready, whether it's rehearsal or anything.

When preparing for auditions, I have no rituals. I just try to be as prepared as possible.

I think that is one thing I've picked up: follow a routine, be consistent, and everything is going to fall in place. If you are scrambling around, and you are late for stuff, that adds extra stress, and you have to go out there and hit a 97 mph fastball.

Giving auditions is a great exercise. They will provide you with a script, and you prepare in 10 minutes. And you perform in front of 100 other people.

I talked to friends who are actors and who do Shakespeare loads, and they all said 'learn it so that your family wants to clobber you, they're so bored.' You can never relax, that's the problem, because when you do, a bit of Shakespeare comes up to bite your cheeky behind. It just does, if you're not really focused on it.

I'm like a prize fighter. When I'm not on stage, every action that I take has to be focused on my next performance.

We do about 600 saves in a training week, just for that one save on a match day. That's why you've got to be in the game at all times.

Acting takes a lot of practice, but so does auditioning.

I did musical theatre for about four years. One time, I did six shows in one year whilst juggling school.

What's great about being an opener is that even when you lose, you win. There's no pressure. And no expectations. If you sell merch, you're killing it. But when you headline, you have to sell those tickets.

There is no formula for winning any show. One just has to be at ease and mentally stable.

The camera is no one's friend - you have to leave your problems at home and make people laugh. That's never an easy thing to do.

You can train to be ready for the nerves, and we simulate it all the time, but it's never the same when it actually matters.

You've got to know what helps you be successful during the season.

Before I do anything, I practice it for a while, and then when I know it's the bomb, then I'm gonna present it to everybody.

I like to spend time alone before I go on stage.

Most athletes get intimidated once they see how many fans are out there, but it almost calms me down in a way because I think of it as a fun way to show off what I've been working on.

If you arrive at a concert ready to play your piece, that's not nearly good enough. You must have your music ready to the point where you can play it on a short rehearsal, after a long plane flight, on a strange piano, having had an unpleasant lunch, in an unfriendly atmosphere. You have to be so over-prepared that you can cope with anything.

At a track, it's different, there's pressure, things like this, so to be yourself is a bit different.

You have to be able to shut out everything else, all the distractions and criticism. There's a lot of work that went on off the pitch, a lot of conversations, to make that happen.

When I begin shooting, I get nervous, as I am under pressure to do my job well.

I love just being in the moment, and the most present I feel in my work is with theatre.