Theater Design Quotes

I've been working in theater, really, since about 1965. I started working with the Mabou Mines about then, and in a way I've always worked in the theater, but it's never been a main part of my work. And it wasn't until Einstein that I kind of shifted into high gear with theater, working with Bob, with Bob Wilson. And since then I find it a very attractive form to work in. It's just an extension of my work.

One of the Age of Enlightenment's most hypnotic images is Ledoux's rendering of his neoclassical theater of 1775 - 1784 in Besancon, surreally reflected in the colossal eye of an unidentified cosmic being.

I had begun my professional career when I was 9 years old at the Cleveland Play House, and it was a very specific, real theater sort of like, you know, in England and the Berliner Ensemble - very devoted people. And I thought the theater was the greatest place I had ever been, and that's what I wanted to do.

I began writing for theater, and maybe because of that I've always thought of myself as a theater writer who does work in film sometimes.

I want to get into the theater. I really wanted to be a theater director, but I turned out to be a movie director.

Lemuel Ayers had had a huge success producing and designing Kiss Me, Kate. He wanted to produce this as a musical. I got the job. It was a professional score.

Behind the proscenium arch, you can't always hear what people in the audience are saying.

My dad was a theater designer, and I spent a lot of time hanging around the dressing room listening to whatever the actors were listening to, which is where I heard Pink Floyd for the first time.

With my background, I came out of the theater.

My mom started working at the California Shakespeare Theater in Oakland when I was two years old, so I've always grown up around theater.

And I'm in favor of that because I have a gay son, who's a very successful theater designer.

Theater in New York is nearer to the street. In London, you have to go deep into the building, usually, to reach the place where theater happens. On Broadway, only the fire doors separate you from the sidewalk, and you're lucky if the sound of a police car doesn't rip the envelope twice a night.

We live in a changing world … shall we maintain all our theaters in the same traditional box.

I went to a really small school, and it had a really small theater department. They didn't talk about Broadway. I learned about it through watching the Tony Awards.

I just thought I would work in a hair salon and do community theater.

I always ended up having the funny part in Shakespeare, but I really thought I'd be doing theater. That was my ambition for myself.

Television can be a little tricky in terms of finding roles that feel fully flushed out, which is why I love being in the theater so much, because the roles tend to be really on the page.

Once I discovered the theater at Santa Clara and once I got into the theater program, I never got into specific criminal justice studies.

When I was a carpenter, I built sets for small storefront Chicago companies. Like, I built sets for friends of mine at The House Theater.

Obviously I love working in film and television, but I started in theater and I'd love to be on Broadway.

The Palace is a good theater, you can see from everywhere.

I don't know what we did without Velcro in the American theater. It's a miracle substance! People had long intermissions, probably.

It couldn't interest me less, the idea of putting a living room on stage. I just think, what's the point of walking into a theater to see a living room? A sofa in a forest? Now you're talking.

In a place like the Greek Theater in L.A., to try and create a close connection with the audience seems almost antithetical to the architecture of the building.

I never wanted to work in fashion. At age 12 or 13, I wanted to design for showgirls - for the theater! And I was crazy for the Hollywood of the 1950s: Dietrich, Elizabeth Taylor, Jennifer Jones. They were my idea of glamour - and Sylvie Vartan, the French singer.