I love working in New York theater.
I've been fortunate in my career to have the opportunity to pick and choose the parts I play. I've also been lucky to always be involved with quality actors, quality directors, quality writers.
I really like to work with theater actors. Theater actors tend to do lots of independent movies, and those are the actors that I like.
Broadway isn't a very big career move. There's no money in it and it doesn't mean anything to your career. It's just a nice little jewel in the crown.
I don't consider myself an actor, for me it's employment. Like the actor who's a waiter a lot, I'm an actor when I'm not on tour, in that that's a job I can do.
When you're 19 and writing plays, you think every actor is full of it. They just can't handle your brilliant material.
If you want to support a writer, produce the first five plays he writes.
The beauty of Broadway is that if I'm 60 or 70 years old, if they'll accept me back, I can go back. So I think for right now I'm going to focus on the music--it's the new baby--and see how it's going to work out, and then maybe in a few years maybe I'll go back.
I don't know of any American playwrights who earn the bulk of their living writing plays. Many of the older ones teach, while a growing number of younger ones write for series television.
All actors are whores. They want only one thing: to seduce you.
Will the theater disappear? No. Is it healthy? Also no.
My family was amazing; they exposed me to the world of show business, and, boy, it was the '70s and I got to spend a lot of time backstage at theaters and see the inner workings of how this entertainment industry is really put together.
In the theater lying is looked upon as an occupational disease.
On the whole, British actors star in theater, and I think there's something quite grounding about that.
It's a very tough time for the playwright. Broadway has become almost a musical comedy theme park with all these long-running shows.
I actually got a play from auditioning for something in 'Back Stage' magazine.
Any play is hard to write, and plays are getting harder and harder to get on the stage.
Work in the theater is more fun than fun.
It was hard to make a living as an actor in New York if you did not do soap operas or commercials.
I did a couple of little Off-Broadway things, but my first Broadway show was A History Of The American Film, written by Chris Durang. Swoosie Kurtz was one of the stars. It was a wonderful show. It closed in 40 performances. I think it was kind of ahead of its time.
When I was 14, a lot of people said, "She's such a good actress, she loves theater, she looks like a woman, she should consider moving to L.A. and trying to do this professionally." My parents were hesitant, but they would take me.
Originating something is what every actor waits for. Usually, those opportunities are offered to people who already have a name.
Every actor or director has their ups and downs.
You know obviously a big TV or film break would be lovely, but I find that I’m essentially a theatre trained actor and that’s what I love doing. I love fringe theatres in London, I love theatres like the Royal Court, Soho and the National obviously and if I could work in any of those and be a jobbing actor for a while then I’m very lucky.
It's nice to know that if you've worked really hard at something, it gets recognised with a tick in the success column - however you define that, be it making a bunch of dough, which the actors never see much of, or whether it's a piece that's enlightening or stays with the audience maybe six, seven or even eight or 10 years later.
