Because of the power of television, I was visible to everybody all over the world. But there are many things in the theater that are more fulfilling and that I look forward to doing more. But really, I love it all: theater, film, television.
At the core of what I'm doing is a belief in the audience, a belief that populism doesn't mean dumbing down theater, but rather giving the audience a voice and a role in experiencing theater.
I did children's theater when I was younger, and then when I was about 14 I started doing theater in New York City.
I have gone to many theaters where it is so unpleasant with the commercials before the movie, the volume, and the disrespect of the filmgoers. So I understand people not wanting to go to the theater.
Did I become a theater person right then, sitting in the Imperial Theater, waiting for the high piccolo note at the start of 'Pippin'? Maybe.
Trust me, there's not one night a week I'm not in a theater somewhere. I adore theater, and I go out with friends, so I do have some nights off.
I love the smaller clubs. I love the theaters. I love the festivals. There are things I don't like. At certain theaters, people can't get up and dance.
I want to do theater and I am looking forward to doing more Television and Movies. I also want to direct some plays in theater workshops for people with disabilities.
A theater is being given over to market forces, which means that a whole generation that should be able to do theater as well as see it is being completely deprived.
I started in theater. I would liken sitcom work more to theater work than I would, perhaps, to dramatic television. It's so quick. It kind of feels like the pace of a play.
I think the theater work and the on-camera work feed off each other. My theater work has become more simple, and my on-camera work has become more energized or more spontaneous.
Those who have free tickets to the theater have the most criticism to make.
Addison DeWitt: [Voice over intro] Those of you who do not read, attend the theater, listen to unsponsored radio programs, or know anything of the world in which you live, it is perhaps necessary to introduce myself. My name is Addison DeWitt. My nat...
The best literature is always a take [in the musical sense]; there is an implicit risk in its execution, a margin of danger that is the pleasure of the flight, of the love, carrying with it a tangible loss but also a total engagement that, on another...
'Yosemite' opened doors for me in the New York theater community in amazing ways. There's a whole world of fearless young theater makers here who put shows together on a shoestring budget and with gigantic hearts.
If you start most of your sentences with 'Why Can't', 'Why Not', or 'What if', you'll build a stronger imagination.
I keep coming back to it, over and over - adultery and cheating. It's the most interesting problem in the theater. How else do you get Oedipus? That's the first cheating in the theater.
I'm a sort of political person, and I feel that there's a kind of ineradicably political dimension to theater, to all theater, whether it's overtly political or not.
We used to play in a theater club in London called The King's Head. When the theater let nut, around 10:00 P.M., we'd be ready to go and really get it on for about an hour or so.
I'd taken some classes at UCB in New York and again at the Magnet Theater and the PIT Theater. I definitely never advanced to where I was on a team or anything like that.
I did enjoy theater. I actually do prefer making films and television, but it was a learning experience for me, because I got into television at 5 and film at 11, and theater was something I completely bypassed.
