Stage Readiness Quotes

Getting ready: the show girl scratches her breast and shakes out her feathers.

I think every singer should be able to jump in for a singer who has been sick, for instance, and learn an opera in two days. I know people who can do it.

What's important is to get into shape and then not to have to worry about it. I don't want to get on stage and not being able to do something. Not being physically fit doesn't work for me.

I do a lot of vocal warmups, which are the same warmups I did when I was a kid, because I had a few classical singing lessons and stuff like that, so I know pretty much how I'm gonna be once I get on stage.

If you ever watch me at theatre rehearsals, you will know what a bad actress I am. I am bad... bad... bad... and then, by opening night, it all just falls into place.

I used to get butterflies. Now we're always ready to hit the stage and rock out.

I will not retire while I've still got my legs and my make-up box.

It's important for me not to peak before I hit the stage. In other words, I save all of my creative and physical energy for when I walk on stage. If I can get 45 minutes of just easy going, playing rhythm, songs, stuff like that, then that's what I do to make sure that I'm all stretched out and ready.

I suppose in some ways that's why my collaborations worked out, because I would go in the studio with such enthusiasm and it would never be a chore for me. I was never itching for the process to be done so we could get out live. It's a different matter for me now. Now I've noticed that I actually have one eye or one ear on how I'm going to do it on stage. And maybe that's because I'm the frontman in the group; I do believe that any good frontman should be impatient in the studio to get out.

By the time I was 4, I knew how to hit my mark.

The music kind of takes care of itself because we've done all that as preproduction in the practice room. So by the time it gets onstage, each song has about one hundred hours of way too much mothering gone into it. So when you see us play live, that is the product of ninety days of practice, over a year of writing, listening to demos on the weekends after practice.

I like to rehearse a lot. Before I hit the stage, I listen to the songs that I would perform and make sure I execute everything.

My life feels, week to week, incomplete to the level of being pointless if I am not in preparation for the next play or, ideally, into it.

Before a show, I usually give myself two-and-a-half hours to get ready. I prepare my shoes first. New ballet pumps can sound like tap shoes. You have to take the noise out of them by hitting them against stone. It takes half an hour to do each pair, and I can go through three pairs in one night.

I never don't know my lines. I never take the audition pages into the room. I end up relying on them or looking at them too much, and it makes me feel unprepared, so I always learn my lines without fail.

By the time I'm out of makeup, I'm ready to act.

I find it rather tedious working with some actors who have to go into a corner and bounce up and down, shake their hands and arms, saying to the director, "Just a second - I'll be ready in a few minutes, " while all the other actors are waiting around to get in. Then they say, "OK! I'm ready now." And then they come on and do it exactly the same way they've done it in rehearsal.

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

I have a personal little routine that I do in my dressing room just to kind of get myself mentally prepared to go on stage, and part of that is a poem that I read to myself.

I don't really have any kind of rigorous or definite routine before I go onstage. I like to eat at least an hour or two before I go on. If I can't do that, I just wait until after. I try and drink lots of water before I go onstage.

I always meditate before every show. I say a prayer with my crew and my band to get in the mode, and I also stretch because it's a very athletic show. We've got to entertain; it's what we do.

You worry about whether you are match-fit, coming back to the stand-up stage.

Now it's a fully realized production but for the fact that we're holding our scripts in our hand and some of us used them, and some of us didn't and you have to by union rules hold the script. You don't have to use them but you gotta hold them.

My ideal setting is I walk from the streets, backstage, and straight onto the stage. Two minutes, and I am on the stage. That way, in my head I have gone from my world and then into a social setting with my friends.

I think there's an attitude these days that you can go straight from a studio to the stage, and it isn't really like that. But playing live was the most important thing for me at the start because whenever I recorded something, it didn't sound right; I didn't like how my voice sounded. It was just raw.