The theater is where I belonged; I simply wanted to be an actress my whole life.
My whole background is theater, and theater is to some degree presentational.
I went to a college in New York called New Paltz. I studied theater there for four years. I also studied privately in NYC with a teacher named Robert X. Modica.
I'm an extrovert, I like to gesticulate and talk loud and stuff, and the theater is easy for me.
I did theater at Carnegie, and in Pittsburgh and New York.
My parents certainly didn't have anything to do with the theater. I'm some kind of accident.
Unless an entire row of people got up in the middle of a performance and left the theater in disgust, I felt as though I hadn't done my job.
I write for an audience that likes what I like, reads what I read, thinks about the things I think about. In many ways, this puts me in opposition to the people who go to the theater generally.
People who are interested in the arts and theater are such a minority.
I did a play called 'On Golden Pond' in a dinner theater in Maine and then went to New York for a talent competition having put together a three-man juggling routine and some one-liners and I got myself an agent from that
As an actor, you generally don’t get to choose what projects you are part of, so I’ve been very fortunate that The Book of Mormon was something I got to be part of. I don’t want to be lofty, but it was groundbreaking, in many ways, for musical theater, so that was really thrilling to be part of.
I love doing both theater and television.
I used to do community theater with Conor Oberst.
My college degree was in theater. But the real reason, if I have any success in that milieu, so to speak, is because I spent a lot of years directing, I spent a lot of years behind the camera
I started out doing theater and a soap in New York and that's... sort of what I got stuck in. I was blessed enough to have long runs, and it's sort of hard sometimes then to get out.
I realize I'm a very lucky man. I love what I do, I love films, TV and theater, and the fact that I'm able to make a living at it staggers me.
The '80s were a time of technical wonder in filmmaking; unfortunately, some colleges didn't integrate their film and theater departments - so you had actors who were afraid of the camera, and directors who couldn't talk to the actors.
I moved to New York to do theater, and I got cast in a play that was funny, and then I was the funny guy. I did a movie that was funny, and then I was the funny guy.
I got started as an actress doing musical theater, and I always loved 'Grease' and 'West Side Story,' and all those kind of movies.
Well, all I can say is thank goodness I had 15 years of theater before ever I did film roles. You build technique that you can rely on
Film and television is just a different technique in terms of how to approach the camera but basically the job is the same; but what you learn as a craft in theater, you can then learn to translate that into any mediums.
Cary Grant was wonderful to work with on stage. He would move downstage, so that as he looked at me the audience had to look at me, too. He knew a lot about the theater and how to move around. He was very secure.
The theater was my first training ground. It taught me discipline, dedication and appreciation of hard work.
Look at the darkest hit musicals - Cabaret, West Side Story, Carousel - they are exuberant experiences. They send you out of the theater filled with music
I didn't want to do film or commercials or television. That was cheap. That was selling out. I was the classic liberal, left-wing, 'Theater is going to change the world' kind of person. You know, very, very boring.
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