Theater Production Quotes

I was one of those people who watched and videotaped the Tonys every year and kept a highlight reel every year. I saw every Broadway show as a kid.

You can make anything into a play for the simple reason that the human mind is one of the best writers in the business. So, if you've got a writer who's clever enough to give you enough clues, you will fill out every blank spot in a play, every single one.

I'm sure with a production that's not particularly well received or mediocrely received, it must be incredibly challenging to get up and keep doing it.

I love working in New York theater.

I grew up in Northern California, and theater is all there was. I didn't know how to go about starting a career when I was 10.

I really wanted to go to a city and get involved in a theater scene and a theater community. I had some friends who had moved out to Chicago and had said really good things about it and about the work. I didn't care at that time about making money.

It's like the high school production of something you saw at Steppenwolf, with the most gifted students in drama class playing the John Malkovich and Joan Allen roles.

What's the difference in opening from scratch in Philly or opening from scratch in New York? The old out-of-town tryout circuit - taking the show pre-Broadway to cities like Boston, New Haven, Philadelphia, Washington - has sort of been replaced with the amount of workshops we do.

I'm convinced whenever something opens on Broadway, it's a miracle. It's a miracle that people survived.

I'll be like Irving Berlin: "There's no business like show business."

The funny thing is, because I was doing a lot of theater when I was a kid, and a lot of that was musical theater, as I got older I became more interested in acting as a separate entity and music as a separate entity, like songwriting and production and recording and playing music.

A musical is the same as a burlap sack, I would not want to be in either

I'm proud of doing 'Long Day's Journey into Night,' for which I won an ACE award.

We did a student-initiated project of 'A Little Night Music', which was the first time that all of the divisions - music, dance, drama, opera - came together and put on a piece. It was a black box kind of feel. We had to get costumes that were pieced together. We had our own lighting that we finagled.

I've always wanted to be in musicals, not just in film, but on stage. I think it's a wonderful medium.

I'm a consumer as well as a performer. Among my leisure-time activities is going to the theater. I'm very interested in that.

There's something really nice about writing something on Wednesday and watching it being performed live for a studio audience on Tuesday. You never really get that with novels.

I've been really lucky to work with a lot of theater directors in the film, like Stephen Daldry on 'The Crown' and Richard Eyre on 'The Dresser.'

The only Shakespeare I ever did was a production of 'A Midsummer Night's Dream' two years in a row in my garden in Rockland County on the Hudson River in the 1980s. I had all the actors from the Actors Studio come out, and we made our own costumes.

I was the music director at a dinner theater called the 'Pheasant Run Theater' in the suburbs of Chicago, and that was my side gig while I acted.

I have been involved with 'Spring Awakening' for six years. I am 20 now - I just turned 20 in August - and I originally auditioned when I was 14 years old. I auditioned for Michael Mayer, Duncan Sheik and Steven Sater.

It takes a damn village to get a show on Broadway!

I'm very, very sad to say that the only Sondheim show I've done is "A Little Night Music" and it was when I was in college.

If you want to support a writer, produce the first five plays he writes.

Working on a play is a vibrant and collaborative business. Everyone from the choreographer to the music director to the director to the writers work together toward the same goal, and everyone chimes in on everything.