Theater Company Quotes

And at NYU, I went to the Atlantic Theater Company, and they have two main points. One of them is to always be active in something instead of just feeling it. And the other is figuring out your character.

Peter Hall was just organizing the Royal Shakespeare Company. It was going to be an ensemble, it was going to be in repertory, it was going to have a home in London as well as in the Midlands, and all of those things were happening at that time.

I always wanted to experience what performance would be like without the fourth wall, so I formed a company in Australia, and we did avant-garde theater, playing with gender norms, conversations about race - we just had a box of issues that we wanted to subvert with our stories, with dance.

Between New York and L.A., and all of us who are actors, I feel like we're just one big, cast repertory company, all running back and forth between the coasts and between different shows. There is a wealth of great character actors, who show up, here and there, on different shows. I love the fact that we're allowed to do that.

I did my first show when I was five and I was the King of the Oompa Loompas in 'Charlie and the Chocolate Factory.' The kids' theater company, I was the youngest one, so there wasn't a part for me, so they made me the king of the Oompa Loompas.

Someday I'd love to come back and start a theater company in Boulder. That would be a dream come true.

In high school, I did the 'The Tempest' at Lincoln Center for Joe Papp.

I started out doing theater in New York. I used to go to Shakespeare in the Park a lot.

I did a lot of theater in the South side of Chicago.

When I moved to New York City in 1965, I wanted to be in theater. I was following my Ethel Barrymore dream. But I was too young to be Ethel.

We opened a theater in 2006 called Loft Ensemble in Sherman Oaks. And we write our own plays and do goofy characters and pack a whopping 20 people per night to watch our work.

We didn't have a backyard, so as I child, I would turn the coffee table into a stage and put on shows. But it was just a fun thing to do; I never thought about it as a profession. That started as a fluke; my mother had a friend who was an artist with a theater company, and I started going there after school because my mom knew I'd be safe.

I started a theater company when I was 17.

I was a dramatic kid. I remember, I was very young, and once I knew what I wanted to do I, like, created a theater company, and I would direct, and we would sell lemonade to buy props.

The first play I wrote was called 'Twenty-five.' It was played by our company in Dublin and London, and was adapted and translated into Irish and played in America.

I didn't expect to pursue acting at all, let alone TV and film, let alone New York or L.A. I was quite content doing Shakespeare out in Wisconsin.

My husband and I oddly have worked together a couple of times. We did a 'Veronica Mars' episode together. We didn't work together, but we were both in 'Ghost World.' We had a theater company in L.A., for a bunch of years. So, we've worked together a fair amount, and it's always just great fun.

I acted when I was young, but at 19, I had my own theater company where I acted but also directed. I also did some theater in Los Angeles. So I was always wanting to direct, even before I became an established actor.

I always thought moving to New York would mean starting over in theater, because I had great work in Chicago and didn't want to become a waitress here.

I worked at the Northlight Theater in Skokie, and the Mercury Theater on South Port. I actually did a show there for three years, called 'Over the Tavern.'

When I was 13 years old, a professional theater company in my town needed a kid actor. I auditioned, and I got the part, so for just a few weeks I became a member of the company and I met some professional actors.

I had studied at the NYU School of the Arts under Lloyd Richards, who also worked with the Negro Ensemble Company.

I wanted to be in the theater. It is simply the way I felt.

By the time I was twelve, I had started my own theater company and was doing plays in the backyard and the front yard and all over the neighborhood, so, you know, I was definitely a lifer even back when I was 10.

Trust is front and center in the working of this production, and it's conceivable there is a harder-working team of theater practitioners than the 'Cursed Child' company, but if there are, I'd like to meet them.