Theatre Quotes

Musicals were never not cool to me.

By whatever means it is accomplished, the prime business of a play is to arouse the passions of its audience so that by the route of passion may be opened up new relationships between a man and men, and between men and Man. Drama is akin to the other inventions of man in that it ought to help us to know more, and not merely to spend our feelings.

The "magic if" is a tool invented by Stanislavski, the father of acting craft, is to help an actor make appropriate choices. Essentially, the "magic if" refers to the answer to the question, "What would I do if I were this character in this situation?" Note that the question is not "What would I do if I were in this situation?" What you would do may be very different from what the character would do. Your job, based on your analysis of the script, the scene, and the given circumstances regarding the who of your character, is to decide what he or she would do.

If you have the emotion, it infects you and the audience. If you don't have it don't bother; just say your lines as truthfully as you are capable of doing. You can't fake emotion.

You can't learn to act unless you're criticized. If you tie that criticism to your childhood insecurities you'll have a terrible time. Instead, you must take criticism objectively, pertaining it only to the work being done.

When you go into the professional world, at a stock theater somewhere, backstage you will meet an older actor--someone who has been around awhile. He will tell you tales and anecdotes about life in the theater. He will speak to you about your performance and the performances of others, and he will generalize to you, based on his experience and his intuitions, about the laws of the stage. Ignore this man.

Lighting paperwork is a living thing, continually evolving throughout the production process until opening night.

The Civic Theater idea, as a distinctive issue, implies the conscious awakening of a people to self-government in the activities of its leisure. To this end, organization of the arts of the theater, participation by the people in these arts not mere spectatorship, a new resulting technique, leadership by means of a permanent staff of artists (not of merchants in art), elimination of private profit by endowment and public support, dedication in the service to the whole community: these are chief among its essentials, and these imply a new and nobler scope for the art of the theater itself. [1912]

I didn't like the play. But I saw it under unfavorable circumstances -- the curtains were up.

A dramatic experience concerned with the mundane may inform but it cannot release; and one concerned essentially with the aesthetic politics of its creators may divert or anger, but it cannot enlighten.

I think theatre should always be somewhat suspect.

The moment an actor walks on stage, an impression is made. The audience immediately gains crucial information, both about the production as a whole and the character. A costume is a transformation garment, one that assists an actor to beomce, for a time, someone else.

In community theatres, "doers" seem to do the following: act, direct, choreograph, accompany, design, build, find, sew, sell, or usher. "Managers" plan, organize, staff, supervise and evaluate. Doers, like directors and crew chiefs, also "manage," and managers like stage managers also sometimes "do"--find props, paint sets, or hang lights. Leaders can also be managers and/or doers, but in their leadership capacity their activities include these: dreaming, pushing, causing to grow, problem-solving and inspiring. Their qualities of intelligence, imagination, commitment, perseverance, and passion are the very qualities that invite the rest of us to say "Yes!"

It is widely acknowledged to be the toughest job to get any two acting teachers to agree about anything.

An actor without techies is a naked person standing in the dark trying to emote. A techie without actors is a person with marketable skills.

If no single reason can fully account for the lack of great work on Broadway these days, there is a factor in the discussion that is rarely mentioned but which has a bearing on what gets produced: the audience. . . It's not audience intelligence that has waned; it's audience passion -- the pro forma Broadway standing ovation now springs from duty not desire.... If that passion exists more in the audience for The Lord of the Rings than for contemporary Broadway musicals, well, at least it is alive somewhere. (2003)

When you're a young man, Macbeth is a character part. When you're older, it's a straight part.

A good many young writers make the mistake of enclosing a stamped, self-addressed envelope big enough for the manuscript to come back in. This is too much of a temptation.

There's a certain secret every actor must have in his work. If you reveal it, you're letting the audience in on the wrinkles and convolutions of your brain. All I want them to do is to see the effect.