I'm the end of the line; absurd and appalling as it may seem, serious New York theater has died in my lifetime.
Great drama is great questions or it is nothing but technique. I could not imagine a theater worth my time that did not want to change the world.
I don't find anything interesting about the choices a character faces in major films or theater projects. The characters are just cut-out dolls with the American flag sewn on them.
I think any actor would agree that you can't replace theater. It's immediate. You have the energy of the crowd and every single night it's different.
If some people think it shows a feminine side to be in the theater, I've never felt that. And I'll openly say that an intelligent person who is a sensitive person will be and should be in touch with their inner female.
The knights of the theater represented to me not only the pinnacle of the profession but the esteem in which the profession was held. To find myself, to my astonishment, in that company is the grandest thing that has professionally happened to me.
The universe is not for man alone, but is a theater of evolution for all living beings. Live and let live is its guiding principle. 'Ahimsa Paramo Dharmah' - Non-injury is the highest religion.
The show can go on without me, and probably will, but I want to come back to act in Chicago. My wife and I just bought a condo downtown, and I want to do theater.
After high school, I went to VCU and got a B.F.A. in theater. I got to do a bunch of stuff professionally throughout college. I actually got my SAG card in college.
The biggest audience for Off Broadway is mostly coming in on a train - either Upper East Siders or Metro-North. I go to the theater, and everyone around me is over 50. How interested will they be in my kind of work?
I've never traveled to promote anything I've been in. I've only been to about two or three premieres. The way I work, I do bits, and then I'm off to something else, whether it's theater or another project.
By 1949, there was no more work for me out there, and I went to New York in 1950 and just did whatever I could. Mainly television. Some Broadway. A lot of dinner theater work, which is not a very satisfactory medium.
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.
IMDb only lists specific projects. It doesn't list theater, commercial, and most non-union work. You also have to pay to upload your reel to most sites, and some places still make you walk your DVD into their physical location.
Many theaters are tackling the multifaceted work of black writers - established and emerging. Now the next step is for them to bring in audiences of color and continue to go out to our community and create a continuous connection that extends beyond ...
I'm not photographing the model in the classic sense; the model is playing a part in my photographs. It's more like theater. I always work with models I know, and I let them participate in deciding how to act their part.
I had a brief theater background and loved the backstage world there's more backstage work in television, so I saw a job advertised and applied, and got it. That was back in 1977, when getting jobs was easy.
I'd also like to do a play. I've never done theater, and constantly changing and refining a performance is something I'd like to do, even though it may sound like work to some people - and it probably is work.
I know that every actor that I know, when Daniel Day-Lewis does a film, and he doesn't work that often, but we run to the theater to see what he's up to, and with such delicious excitement. The same goes for Meryl Streep.
I think women are in much the same place in the Irish theater as they are everywhere else. Certainly, we have wonderful Irish writers, and we have quite a number of Irish women directors. But there could be more, and there should be more.
There are days when I think the National Endowment for the Arts should issue a quota system for the production of plays by women - especially when you realize women buy 70 percent of all theater tickets.
