Theatre Quotes

Having talent is like having blue eyes. You don't admire a man for the colour of his eyes. I admire a man for what he does with his talent.

Brush up your Shakespeare
Start quoting him now
Brush up your Shakespeare
And the women you will wow

If you do a certain amount of work on your own before consulting with the director then the process starts with the script. I tend to do a certain amount of my own work before I go into a first meeting. It is important to be open minded in your first meeting with a director but I like to be well-prepared for that meeting because sometimes that time with your director can be limited. At the time of that first meeting, I will have read the play several times and from different points of view. I might read the play once to just check how many costume changes there are. I will read it again to make a prop list. I will read it again to analyse where the entrances and exits are and also to imagine where the furniture will be. It's difficult to concentrate on all of these things in one reading so I go through these processes in separate readings. Once you have that under your belt, depending on the period of the production, I guess I start to do visual research based on my response to the text. Depending on where and when I might choose to look at photography of the period or I might choose to look at painting or I might just look at history books and look for thematic influences. That's the start and having done that you team up with your director and see what their response is to those ideas you have and then you start to form a stronger direction. [Christina Poddubiuk, Set and Costume designer]

5 Tips to Increase Diversity in Theatre:

1. Be proactive and participate in outreach to groups that represent actors of color, like Asian-American Performers Action Coalition or the African-American Artists Alliance, to bring them into the casting process.

2. If you’re a playwright, lyricist, book writer, or a creator, ask yourself if the race of your characters is relevant to the story, and if not, specify that.

3. Do your research on racism and internal bias before beginning the creative process. Understanding the history of these issues within the business will help create an inclusive and positive environment.

4. As an actor, be conscious of the roles you accept and be self-reflective about whether your racial or ethnic background or physical abilities would be appropriate for the part you’re playing.

5. Be careful of engaging in tokenism or promoting harmful or damaging caricatures. Truly color-conscious casting gives members of marginalized groups opportunities to play real, developed characters, not one-dimensional stereotypes.

As a writer you're holding a dog. You let the dog run about. But you finally can pull him back. Finally, I'm in control. But the great excitement is to see what happens if you let the whole thing go. And the dog or the character really runs about, bites everyone in sight, jumps up trees, falls into lakes, gets wet, and you let that happen. That's the excitement of writing plays--to allow the thing to be free but still hold the final leash.

Although one may fail to find happiness in theatrical life, one never wishes to give it up after having once tasted its fruits.

Asking a working writer what he thinks about critics is like asking a lamppost what it feels about dogs.

Have a very good reason for everything you do.

What is the main problem of the actor? It is to keep the audience awake, and not let them go to sleep, then wake up and go home feeling they've wasted their money.