I sing in many different colors and, hopefully, they add up to a great performance that, after you leave the theater, makes you feel like I've really shared something of myself.
We were tremendously encouraged by the testing of Analyze That. Audiences loved it. They were telling us that they liked it as much as the original. We recorded the laughs in the theater.
To be honest, most of the time you leave the theater, and you're like, 'Well, that was nice, but where did I park?' It doesn't really stick with you.
There are so many things to do in New York. I try to get to the theater and see some plays. I have a bicycle over here, and I ride around New York.
Through theater and acting school, I found a way to articulate myself.
I can't sit on my bum very long in a movie theater seat, and when I'm directing, I always want to move the camera or edit.
You can't stay away from the theater too long.
To do theater you need to block off a hunk of time.
I've seen plays that are, objectively, total messes that move me in ways that their tidier brethren do not. That's the romantic mystery of great theater. Translating this ineffability into printable prose is a challenge that can never be fully met.
Over the years, I've spent a lot of time in Washington. It's a great theater town.
Beyond just the respect that you want to have, people just miss out on being in the moment when they have a screen in front of their face. I just don't know to tell people. I feel it's like, you know, 'Turn off your phone and go to the theater.'
When you're talking about pure form, theater is a wonderful outlet.
My father was a fighter pilot, so I moved around the world when I was young. Then I ended up in Kansas. I'd just sort of gravitated toward the arts, and I had always loved music and really loved theater even though I didn't want to act.
I didn't go to theater school. I didn't go to Julliard. But I've lived a lot. I've seen a lot. I feel like that makes up for a little bit.
The originating sin of America is slavery, for which reparations should be paid and will never be paid; as a result, mini-reparations are paid daily, and the NBA remains, for me, reparations theater.
Hallmark makes beautiful films that feel as if they should be watched in a theater. The Hall family knows the power of stories, and they give us unforgettable movies with heart and depth and the resonance of classics.
I choose things that challenge me. I was afraid of the camera - that's why I chose to do 'Private Practice.' It's not like I left the theater.
I have taught some master classes and things at my alma mater and sometimes at my kids' school. I will go in and talk to the theater students. I wouldn't really call myself a teacher.
When I go back to theater, I feel good about myself. When I do films or TV, it's to make a little bread to pay my mortgage or whatever, and when I've made the money, I do theater again. And when I get a part I like, a part I can work on, that satisfies me. I feed good about myself.
I'd taken, like, maybe some African dance classes a couple of times, but I wasn't a musical theater person at all.
The beautiful thing about theater is every night is an opportunity to incorporate what you discovered the night before.
I can't imagine my life without doing theater.
I'd grown up doing children's theater there, and I always imagined myself being artistic director of a children's theater company.
I'm not attracted to naturalism, I'm not attracted to behavior, I'm attracted to dance. I'm attracted to gesture, I'm attracted to singing with your voice, as opposed to having a natural manner. I'm a theater actor first, so that probably influences a lot of my approach. And I think in many ways, naturalism has ruined movies.
I went through a really good-looking phase from birth to 9. And then things went crazy. I don't know what happened, but between 9 and 14 it was really, really rough. I didn't have a lot of friends. The only ones who were nice to me were the theater kids. And they were like, 'You can come and join us. No one likes us.'
My first movie I saw when I was a kid was 'The Jungle Book.' I was 5 years old, and I saw it in a movie theater. Seeing that movie really lit the fuse and ignited my passion for animation.
My mom started working at the California Shakespeare Theater in Oakland when I was two years old, so I've always grown up around theater.
Let's just say that the theater is not for the faint of heart.
I learned more in the rehearsals for 'The Letter' than I have ever dreamed of know in the theater as a critic. If it doesn't make me a better critic, I'm an idiot.
I acted when I was a real little kid. My mother was an actress in a Miami theater company comprised of actors from Cuba like her and I was the default kid.
I'm not really looking for theater work. But if somebody approaches me with enthusiasm, I might respond.
I have two passions in my life. One is to raise the awareness of the internment of Japanese-American citizens. My other passion is the theater. And I've been able to wed the two passions.
I started out in theater and then I got a job on a soap in New York.
My dad used to work in the theater as a stage manager, production manager, and lighting designer.
I was real into theater, and then I tried soccer, acting and ballet. Both my parents didn't want a child-star model, so I didn't get into modeling until I was 14.
I had no idea I was going to have a career in the theater. I did not plan it.
