Explore Quotes on Play

I come from a tradition where the writer writes a play for the actors, rather than for himself, and the dialogue is made to work onstage, so it needs actors to help shape it. So you never get a play right straightaway.

When I get to go play in my hometown, it's almost one of the toughest times because I got so many people to cater to and then a lot of people that think they're supposed to be catered to.

There are a lot of actors who wish there was a next play, a next musical. As an actor, I guess that's all I can wish for - the next role, the next opportunity.

'The Fugitive Kind,' 'Rope,' 'Who's Afraid of Virginia Woolf?' - I watched all these as a way of reminding myself that you can do a movie based on a play. You can do a movie that stays in one place for a long stretch.

I don't think Othello is a jealous man - he is a man who has been deceived by another person, just as everybody in the play is deceived by that person... The playwright uses the word 'jealousy' over and over and over again, but I don't think it has anything to do with being jealous.

I was horribly shy all through grade school and high school. But somehow I got up the nerve to audition for one play in high school - 'Auntie Mame.' I got a small part as the fiancee who comes on in the end. I got laughs. I wasn't shy at all doing the part. I can do anything on stage and write it off as a character.

I had accidentally gotten a laugh on a line in a play I was in during high school. I got hooked, but I had no idea I would ever be able to support myself by acting. I knew no one in the business. I was from the Midwest. No one within a radius of a thousand miles was doing anything like that.

No matter if you miss a shot or miss an assignment on defense, whatever, that play is gone.

'Richard III' is a really difficult play to film - it's involved, often obscure. I felt it absolutely necessary to do more simplification than I've ever done before.

I love the process of working on a play. I love rehearsal so much. New York can be so tough, but the community in the theater is so warm and glorious.

What I love about a play is that it's such an investment because only time can create a lot of what happens onstage.

Writing a tribe is fun. They have their own language, their own slang; they repeat it, and it becomes part of the texture of the play. For a writer, that's thrilling. That's when my pen flies.

In my final year at Bristol University, I wrote a play called 'White Feathers.' It was produced in the studio theatre at the students' union in early 1999, when I was 21. It's 100 pages long: a very traditional play, with an interval, about deserters in the First World War.

What role should religion play in the American public school classroom? My own knee-jerk response would be, 'none whatsoever,' but the Constitution isn't quite so direct on the subject.

Tradition is an element that enters into play with destiny, because you are born into a particular family - Jewish or Islamic or Christian or Mexican - and your family determines to some extent what you are expected to become. And society is always there attempting to determine the role we will play within it.

Watching AIDS play its evil game of give and take has made me understand why lobbying for increased research funding should be an urgent priority - not only for the gay community but for us all.

I would love to do a Broadway play. I would love to do big screen also, motion picture.

I was a dramatic kid. I was always like, 'Watch me put on my play, Mom and Dad! You have to watch me put on all these outfits and do this play!' But my family is very academic and straightforward and normal Midwestern people, so the idea that I could act as an actual job wasn't really there.

I think that was one thing I definitely brought to the table, my aggressiveness and my style of play, and I think that's one of the reasons why the fans here really appreciated the way that I went out and played, just because I think they kind of liked that.

I always have plans to return to the stage. I leave myself very open. I think what would be more likely is if I did a limited run of something, whether it be a play or a musical.

When I first read 'The River,' I had theories on what it was about, but once we got into rehearsal, I realized it's much simpler: It's about how human beings try to connect. The play holds a mirror up to the audience, and they take from it what's relevant to their lives.