Theatre Production Quotes

Right out of school, I did this show called 'Natasha, Pierre & the Great Comet of 1812.' It is based on a classical text with new music - not necessarily confined by a certain genre. It was a diverse, interesting group of musicians, actors, nonactors, and singers all creating this thing that is bigger than all of us.

Broadway was weird.

Right after I left drama school, I had a job.

The most rewarding thing is being on Broadway. I went into Cabaret as a replacement and was really challenged beyond anything I could have imagined.

I think the first role I ever played was Mr. Bumble in a production of 'Oliver.'

The first presentation of my show was given in May, 1883, at Omaha, which I had then chosen as my home. From there we made our first summer tour, visiting practically every important city in the country.

When I started off as an actress, I did at a play at the Taper Too Theatre here in Los Angeles, called 'In The Abyss Of Coney Island.' That was more of a dramatic play. It was a small theater house. This was the first time I was literally on the road, doing a play, for four months.

I didn't intend to become an actor.

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

Peter Hall was just organizing the Royal Shakespeare Company. It was going to be an ensemble, it was going to be in repertory, it was going to have a home in London as well as in the Midlands, and all of those things were happening at that time.

Broadway was always sort of my trajectory before I found film and television - that would be really tremendous.

Don't know about a cabaret act right now, would actually prefer a role in a broadway musical.

There's such a work ethic involved in theatre that you can't learn in L.A.

I grew up in Los Angeles, and my first musical theatre experiences were at the Music Center in downtown L.A.

My first play was 'The Room', written when I was twenty-seven.

I sit every once in a while and I think about plays and films I can do with William Petersen into our eighties. He's the most incredible scene partner I've ever had.

When I left Cambridge, I applied to regional repertory theaters in the U.K. and got accepted by one of them... And here I am, still at it.

There's a great charm in theatre; I enjoyed doing it for twelve years and did lots of plays. At this chapter of my life, I am a cinema actor, and I would like to continue to be so, and at some point I would return to the theatre.

I'm fascinated by movies and enjoy that, of course, but always, the measure of how you are functioning in the arts was theater.

When I was 12, I did this show on Broadway called 'High Society,' so we moved to New York for the run of that.

When I was a young person, when I was in high school, we did a very emotional and wonderful - for us, life-changing - production of 'Godspell.' It really, really was the highlight of my high school time, and it was for everybody else in the cast, too.

I was thrilled to win a Tony in 2005 for 'Spamalot'.

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.

Television is great but for me, as a performer, nothing compares to a live theatre show.

I was about six years old when I did 'Orchids and Ermine.' They dressed me in a suit, put a mustache under my nose, a cigar in my mouth, a cane in my hand, and a hat on my head.