Theater Work Quotes

I love working in New York theater.

In the theater, you get very close with everyone, and you have to because you're with each other all the time. I respect it. It's a challenge, but it's very worth the hard work.

In television, a sitcom is probably the closest thing to what it's like working in the theater.

I like to work. I like to go every night and play a part.

I look back on those early days in the theater like the beginning of a love affair, when you're totally in love with the work, and that's all there is.

I've worked with wonderful actors like Marlon Brando and Henry Fonda.

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.

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.

Give me an 18-hour day on set or in the theater, and I will be the happiest person alive.

I respect journalism. I was always very aware of journalism from a very broad point of view, but I'd say my baptism by fire was doing the Donald Margulies play Time Stands Still. That for me was a real education because I spent a lot of time with some incredible journalists, war reporters particularly - Bob Woodruff, Dexter Filkins - people who were very helpful in painting the picture for me and reading the accounts of people and what they experienced, a lot of PTSD.

I worked at Dollywood when I was a kid. Then I worked at Opryland. I worked at a variety of theater things in Atlanta. I was also in a choir for two years where we did 'Annie' and 'Joseph and the Amazing Technicolor Dreamcoat.'

I wanted to do film. I was living in New York and working in theater, but I always wanted to do film.

My husband, Steve Hamilton - an actor/producer and co-Director of the Southampton Playwriting Conference - and I had been working in the theatre in New York for many years.

I have been working up until recently with Neil Simon, who has been adapting the character to me.

I did nine months in 'Mrs. Klein' in New York, then four months on the road. Then I did a movie directed by Philip Haas, who did 'Angels & Insects'. We shot 'The Blood Oranges' in Mexico for six weeks.

Most of my enjoyable times in the theater have been working in a group.

I don't sit around and wait for great parts. I'm an actress, and I love being one, and I'll probably be doing it till I'm 72, standing around the back lot doing 'Gunsmoke.'

Work in the theater is more fun than fun.

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 came out of repertory theater, where I worked 50 weeks a year, and I loved working with the people.

I was working in Lexington when I recognized this actor, Michael Shannon, and I was like, 'What do you do?' He told me to get into a theater company, so I got into a theater company near my hometown. I was a carpenter there. And then I slowly got some work.

I did 15 shows a week when I lived in New York. I did five shows on a Friday and seven shows on a Saturday. It was everything I did and it was my sole source of income.

I don't see money or a particular status as an actor as a goal, but I want to do the best work I can in as interesting a range of roles as I can.

Going back and forth between the press and something like The Crucible must be really crazy and intense.

There are always leading characters. There are always complex characters; there are very rewarding plays with great directors and tremendous playwrights, yeah. I've done a lot of things with theater that I'm very, very proud of.