Stage Design Quotes

I've been thinking about where I want to take my live show. I want everything in it to be pink, gold, and black. I don't want people to feel any other colors, like brown or yellow.

I have been fully involved in designing my stage shows; it's important to me to do something really unique and almost off-the-wall to bring the music and the visuals together. I love design and actually went to school for a bit for graphic design, so it isn't so much 'pressure' for me; it's a way to be creative, and I really enjoy it.

If I ever see another Shakespeare production where somebody drives a Jeep on stage, I'm going to run screaming up the aisle. These tend to be matters of design. I mean, we're seeing a lot of - it's very common to see Shakespeare with automatic weapons, things like that. They are clichés. They're new clichés, but they are clichés. And they're provincial. It's not clever to do Henry V, and have everybody dressed in United Nations soldier's costumes anymore. I've seen that one too. That kind of thing irritates me.

Hartford had the Mark Twain Masquers, which was fantastic. They had been in business I don't know how many years. They knew how to build sets and sell tickets and put on a play. My day started at night. When I left the office, that's when my day began.

Talking about theater, actually, I built a little barn in upstate New York, and I call it 'the smallest theater in the world,' but it has a mini stage and a red velvet curtain.

I was 16 at the time, and I came backstage and started hanging out with them. I said, "Well, maybe you can 'vanish' the silk this way." The opening was a black stage while the "Magic to Do" song started playing. All you saw were hands, lit by Jules Fisher, and then Ben Vereen would appear beyond the hands, and at the end of the scene he would vanish a silk. The spotlight would hit a red spot on the floor where you'd see the silk on the floor. He'd pull the silk out of the floor and it became the entire set coming out of the floor.

Cinema affects everything, from the way I get dressed to how I build my stages.

We love the idea of really putting on a show. It's not just a band playing on the stage. There's a theatrical element to what's going on.

I built stages and I did stage management - I think I built the sets twice, I happened to be good with a drill, which is a talent I didn't know I had.

The Smith Center is a theater where you want to keep the lights on. The acoustics are amazing, and this is a stage that was built for sound.

I went to New York University to study experimental theatre in 2006 and was there pretty consistently until 2011.

When I was about five my dad built a stage for me in our basement. A full stage, with a curtain, a backdrop and a dressing room. There were three colored spotlights - a red one, a white one, and a blue one. Blue was for nighttime scenes, and red was for when we were in hell. If the neighborhood kids wanted to use the stage, they had to incorporate me into the play.

I've been to Vector Arena, and I've seen it. I've stood in the middle and just appreciated the space, appreciated the volume of the place.

See, I have to do my best because I am not as glamorous or as well-equipped like a Beyonce Knowles or Michael Jackson, where their band members are close to 100-150 people. They even have great equipment which is flown along with the artists. They have a budget of around $5 million pumped in to make their concerts a hit.

For the 'Heaven' stage, the dancers and I don't use wires so we are slowly slipping down the stage if you see us up close.

It has been an honor to paint on stage and have my art grace the albums and stage sets of renowned musicians.

Building a set is like building a place, but it's a temporary place, because sets usually get torn down. Kind of unfortunate.

Theater, especially musical theater, is a collaborative endeavor. The success of the venture is about the team.

Whether it be tour posters, album packaging, videos, stage design, etc., the visual aspect of music is very important to us.

I mean I think people prepared me for like a lot of green screen [in Oz the Great]. I didn't have a lot of green screen. They build most sets. When this castle was tangible, Emerald City was tangible, the forest, the woods was tangible, the cemetery, everything was there.

The thing about acting that's unlike any other art form is that it's collaborative; directing and acting are a collaboration, and your acting won't succeed if the lighting design doesn't succeed or sets don't succeed.

I went to art school first and thought that I'm going to design theater sets. That was my path.

I never envisioned being a rock star. I envisioned the stage. I would draw and draw and draw the stage, or the tour bus. It was much simpler.

The Old Vic is a beautiful theater to work in. It's quite a large house, but it has a feeling of intimacy.