There's definitely a negative correlation between the higher the profile and the enjoyment of the gig.
I've got so many stories about every film and show I've ever been in.
If people want to criticize a performance, that I understand. I think that's important.
You measure your people and you take action on those that don't measure up.
It would be so much better if the critics would come, not on first nights, but on last nights, when they could exercise their undoubted flair for funeral orations.
You got to be rigorous in your appraisal system. The biggest cowards are managers who don't let people know where they stand.
People aren't going to talk about it except me and that is communication and the visits I have personally had in our meetings with our store managers saying if you do these things you will be terminated, period.
If I had my way, I wouldn't do annual reviews, if I felt that everybody would be more honest about positive and negative feedback along the way. I think the annual review process is so antiquated.
Like most playwrights, I hate talkbacks with a passion that can burn a hole through hell.
You have to take care of your guys. If a guy underperforms, you get rid of him. If a guy overperforms, you take care of him.
The more accountable I can make you, the easier it is for you to show you're a great performer.
There's a lot of just administrative work that comes along with having employees.
We don't really need reviewers, just first-night reporters who will tell us faithfully whether or not the audience liked the show.
I've seen many shows ruined by bad reviews and good reviews, so I always tell my actors not to read the reviews until after the run is over.
I'm getting positive feedback for my acting so we'll see if any other interesting parts come up.
We can't figure out why any time we play in the East, the critics either ignore us or write a pretty bad review of the show.
Eliminate numerical quotas, including Management by Objectives.
I don't want to be in boardrooms talking about hiring hairdressers and minivans. I'm not good at it, and I don't like to hire and fire people. I hate that. It's horrible.
Prior to 'The Goldbergs,' I rarely got good reviews on anything I've done.
I've been doing this long enough that you can tell when people have seen you in something they didn't enjoy, and when they have seen you in something they actually enjoyed.
The Edinburgh Fringe is a tough beast and you do whatever you can to get through it. But it's really the worst place to see comedians; everyone is so tense and nervous because it feels like Ofsted inspectors are out there.
Traditional performance reviews have passed their sell-by date. Big time. There's research showing that roughly two-thirds of performance appraisals have either no effect - or a negative effect! - on employee performance.
A lot of companies lock up for a few weeks once a year for performance reviews. But there's a way to collect feedback in real time from Slack so that by the end of the year, you've already stored up all of this information.
Launching a Broadway show is like no other endeavor. It's taxing because you're present - it's not like cutting a movie and test focus-grouping it and filling out forms.
Each time I have performed in Utah, I had a great time, and the audiences seem to enjoy what I do. The audiences are very warm and very appreciative.
