I've seen myself do stuff on stage that was pretty amazing. I think that would be true for any athlete. Any top athlete will see something that they are very proud of. All my injuries will attest to the fact that besides being a musician, it comes down to being an athlete.
Whether you are a writer or an actor or a stage manager, you are trying to express the complications of life through a shared enterprise. That's what theatre was, always. And live performance shares that with an audience in a specific compact: the play is unfinished unless it has an audience, and they are as important as everyone else.
In high school, I was too shy to perform. It's one thing to get laughs from your family, to be funny at parties and in class. It's another thing to get up on the stage.
One thing all stage mothers share is an overpowering ambition for their daughters.
I trained for the drums for about two weeks, and then rocking out in front of an entire crowd was sort of like a dream come true. And now, Guitar Hero, I can't do that anymore. It's nothing like doing it on stage. I kinda wish I had a fake band, and we could go on tour.
You can be in an acting class all you want, but you don't fully learn until you get off that stage and in front of a camera.
I'm at a stage in my life when I want a wife and a family.
Baldness is visually enough of a stigma as it is without a big sweaty bloke on stage pointing it out.
I'm at the stage of my career when it's not only about winning and developing players, it's about having fun. That's a void in your life right now, but it's something you're going to have here.
If I wanted to do something on stage, I wanted it to be something I could really get into and feel.
I remember, I was doing 'Jesus Christ Superstar' in London in the early '70s, and friends of mine had come over from Dublin, and they're knocking on the stage door after the show saying, 'Colm, come on, let's go for a drink.' I knew that if I went with them, I wouldn't be able to do my job the next day.
I'd love to do Broadway or the West End. I'm sure doing eight shows a week is gruelling, but I did a lot of stage shows in Sydney and I love performing live.
When you stand on the stage you must have a sense that you are addressing the whole world, and that what you say is so important the whole world must listen.
I've long said that if Canada has a role on the world stage, it's principally as a role model, a demonstration that people of all types can get together and live in peace and harmony, which is something we really do most of the time here.
I love doing stuff with Todd Barry and Jon Benjamin. We give the stage to good bands and funny people.
I wanted to be on the stage, doing very important emotional roles.
We were asked to believe that the variety and the novelty of even the crude films of the early days would provide a means of entertainment which would cut out the stage.
There was a stage when Balanchine and I didn't talk. I was trying to develop my classical technique as opposed to the fast-track technique that he was pushing. We were very quiet with each other. But after two years he saw what I was doing and sent messages through other people that, yes, this is good.
Your lost friends are not dead, but gone before, advanced a stage or two upon that road which you must travel in the steps they trod.
I traced the marley floor with my pointe shoes, and imagine myself on the stage, not as a member of the corps, but as a principal dancer. It felt right. It felt like a promise. Some day, somehow, it was going to happen for me.
If I ever see another Shakespeare production where somebody drives a Jeep on stage, I'm going to run screaming up the aisle.
Whitesnake more than most rock bands would get a very significant percentage of women in the audience and those were the ones I'd hear the voices because from where I am on stage is a pretty good spot.
It has long been a dream of mine that this important story one day would be told on the great American stage of Broadway. In fact, I've dedicated much of the latter half of my life to ensuring the story of the internment is known.
The music industry is a strange combination of having real and intangible assets: pop bands are brand names in themselves, and at a given stage in their careers their name alone can practically gaurantee hit records.
I feel like I have reached the stage where I can no longer produce for my club, my manager, and my teammates.
When I'm on stage, it's a little world I've created where I'm sort of the thing, so I have total control over everything that happens. When we're improvising, I'm with someone I totally trust. I know things are going to work out. I don't have those guarantees in life. There are no consequences on stage.
I write songs. Then, I record them. And, later, maybe I perform them on stage. That's what I do. That's my job. Simple.
But when I went on the stage to do a show, I would put on makeup because I felt that it enhanced my act; it drew attention to what I was doing.
Second City Las Vegas is very different from Second City in Chicago on the main stage, where they do improv sets. That's how they kind of hone material, kind of work up to new material.
I've been performing on stage since I was six years old.
John Lennon and Ringo Starr liked my songs. I used to write songs and they heard me sing songs on stage in London.
I don't see my dancing or acting as two separate things. I don't define them separately, so I can't say one has helped the other, It's all the same thing. More than anything I love being on stage and performing.
It took me several years to figure out who I am and a few more to accept what I discovered. Now, I'm in the enjoyment stage of that process and it's a happy place.
I'm very ditsy and a klutz. I've been known to walk on stage and fall over my dress.
What I learned then was there is a certain power in a three piece band. The more people you put on that stage, the more diluted it becomes.
SDC has a great reputation for putting live music on stage.
