Performance Endurance Quotes

It's interesting to me because theater is, on any given day, 10,000 times harder than film and television. And that's not to say film or television can't be hard or challenging; it's emotional to do the same thing over and over and over. But in terms of stamina, there is nothing like an eight-show week to separate the men from the boys.

I haven't always been into fitness. But I noticed that when I'd be on stage playing a show, I could hardly make it through the fifth song without having to take a breather.

The fact that Eddie Vedder likes to play 3 hour plus shows a night, I have to be ready for that.

I love theatre because it's just me and the audience. It's the litmus test in acting, to be able to sustain a performance over one, two or three hours.

Playing solo with an audience for an hour and 30 minutes without a break means I have to, as the jazz cats say, get into the shed and work on my chops.

When I started performing I was like, "Holy hell, how am I going to survive this?" I was giving it my all in 15 minutes but now I had to do it for two hours.

I love doing 'Castle.' We pump out 24 episodes in 10 months, and we work long hours. We do lots and lots of takes, and everyone there is a talent machine. It is a taxing endeavour to say the least, but when you get into a groove, it doesn't matter if you're tired, it doesn't matter if you're sick. You can do it.

You have to keep fit being a singer - that's part of the job. You can't do it unless you have incredible stamina.

For me, being onstage for an hour and a half, my confidence was really huge for me. Doing eight shows a week for a run, I was like: "I'm actually doing this." And now I feel more confident going into something.

Think of it this way: performing is like sprinting while screaming for three, four minutes. And then you do it again. And then you do it again. And then you walk a little, shouting the whole time. And so on. Your adrenaline quickly overwhelms your conditioning.

Theater mode is a different muscle. It's sort of the same acting muscle, but it's extended. Instead of a sprint with movies and television, it's a marathon.

I really didn't realise until I got back the work that goes into a performance. You're like an athlete - if you haven't been practising things tighten up. I had to do a lot of practice work, but I got through it. Even when I was 21 I would have a 40-minute nap on the day of a show, and I will still do that.

I have more energy at the end than I do at the beginning. You can be so beat up that you can scarcely walk on stage but when you get to the piano the excitement kicks in, you forget about being tired.

Real thick strings - your hands start to get fatigued. As much as you practice, and as much experience as you have, and as long as you've been playing, there is a fatigue point during the show, as with anything that's physical. So I wanted to basically pace myself better.

You need to be able to maintain a healthy voice and fit body to be able to give performances in a big theatre night after night.

But I'm pretty lucky with my voice. When I first started touring I went to see a woman to give me some coaching on how not to lose my voice. And she was just saying really your voice is a muscle so if you're using it all the time you should actually come back from tour with a stronger voice than you left with. And that's really how I find it.

'Wicked' is so hard-core, physically and mentally, for the whole three hours, that doing that show for two years has pretty much prepared me for anything.

We got touring with the Stones, and people were trying to keep up with Keith. He's like a human machine with a constitution of iron, and they all thought they could do the same.