Repertory Company Quotes

Between New York and L.A., and all of us who are actors, I feel like we're just one big, cast repertory company, all running back and forth between the coasts and between different shows. There is a wealth of great character actors, who show up, here and there, on different shows. I love the fact that we're allowed to do that.

I also try to surround myself with people I love - make a family out of the company. So I tend to use the same people over and over. There's a sort of Mel Brooks Repertory Company.

I wrote 'The Room', 'The Birthday Party', and 'The Dumb Waiter' in 1957, I was acting all the time in a repertory company, doing all kinds of jobs, traveling to Bournemouth and Torquay and Birmingham.

I wanted to be a classical actress. I plodded along. I went to junior college in San Francisco, I was in a Repertory Company. My hero was Eva Le Gallienne, who was a great theater actress at the turn of the century who created her own company, and she wrote these hilarious autobiographies at the time.

When I was beginning, a young actor could go from repertory company to repertory company. I did that and loved it. I was also lucky.

I find I like to work with a lot of the same actors, because I find that there's sort of shorthand there, and there is this unspoken trust, both ways. They trust me and I trust them. And I know what I'm going to get from them, to an extent. It's just fun, kind of creating this little family.

I was in the movies. I danced, I sang, I learned to work in front of a camera. It was like being in a repertory company.

Each writer is born with a repertory company in his head. Shakespeare has perhaps 20 players. ... I have 10 or so, and thats a lot. As you get older, you become more skillful at casting them.

I love working with the same actors repeatedly. That happens a lot. It's kind of inevitable, especially if you work with the same writers and directors and you start to form a company of actors. You gravitate towards each other.

I don't think of myself as a TV actor. I think of myself as a film, television and Off-Off-Off-Off Broadway actor.

The cinema I particularly love is the cinema of the golden age of the studios in the 1930s. One of the really nice things about it was the way teams of actors and directors and crew people worked together again and again.

You go through your career and you find people and cast who you love and you go through and keep them and you never want to let them go because you have a great repertory with them.

But a large symphony orchestra basically is a repertory company and it has a very enormous repertoire and it is important for the performers to be able to know how to shift focus so that they instantly become part of the sound world that a particular repertoire demands.