I studied at the Budapest Academy of Theatrical Arts for four years and emerged with a degree.
I was the classic killer. I always played an angry man. I think it was because I used to really be like that – I was hostile. And because I had a good sense of theatrical truth, I used my anger and rebelliousness and just went with it. Anger was just a part of me.
Well, we have theatrical parties. It’s not me singing. People like to get up and jam on the piano.
For the most part, any serious magic show is not using very much technology newer than theatrical lights.
We all need to be huge supporters of the theatrical documentary.
At this point we’ve answered about every question you could possibly imagine about Deep Space Nine, so we do this thing called Theatrical Jazz, where we do a show of bits and pieces of things from plays and literature, poetry… stuff that we like. It’s fun.
When I first started out in the industry, I was 12 or whatever, and I wanted to be on something so bad, and I didn’t know what I was going to be on. At the time, I was in school, and I was working on drama and theatrical stuff, so I never thought that I’d end up going to comedy.
My father was brought up in a theatrical background, just as I was, and his father instilled in him the need to do everything properly and take responsibility for money.
I was in my last year in high school when I began to think of becoming a dancer. I had never seen a Broadway show; we never even read the theatrical reviews.
I love theatrical props: a cup filled with solid fake tea, say, or a collection of fake food, including a rubber turkey, which, during the holidays, I wrap in tinfoil so it appears to have just come out of the oven.
I’ve always been aware that probably writing songs – stupid songs or, at least, theatrical songs – is, I dunno, I certainly don’t think about that, about my persona on stage. In fact, I work really hard not to address it too much in my head.
It is always wonderful to have a theatrical release; lot of filmmakers desire that.
I’m in ‘Gods of Egypt.’ It was CGI on a level that I’ve never encountered. You’re in a blue environment on a mirrored floor because that’s going to be looking like Ra the Sun God’s boat. In the studio, it was like I was in a Robert Lepage theatrical piece.
I guess I always leaned to the theatrical.
I’m not from a theatrical background where people do like to work it out on some stage space.
My appearances are almost theatrical performances. I bring items for the children to see, such as photographs and actual piece of meteorite, a family quilt, sometimes spectacles, sometimes clothing, so that they can understand what I write about is family stories based in fact.
It’s really hard to make an original movie of any kind that succeeds in the theatrical market place, in the wide release market place.
My relationship with my readers is somewhat theatrical. One of the main things I try to do in my work is delight my readers.
Musicals are, by nature, theatrical, meaning poetic, meaning having to move the audience’s imagination and create a suspension of disbelief, by which I mean there’s no fourth wall.
I hope we’re not the last of the Mohicans when it comes to putting on a big, crazy, over-the-top theatrical rock show.
I got into my very theatrical phase. I wore only black: a big black hat and wild hair and wild black clothes, and I carried a sword stick. I went there still looking like Miss Florida, and I came back looking very different.
My grandmother is this amazingly theatrical woman. She acted like a movie star, as far as looks and attitude, kind of like Susan Hayward.
I was always fascinated by the Torah, the Bible, in terms of story telling: heroes and villains, morality and flaws. There’s no better epic. Also, being part Latin and Jewish means I have a sense of the theatrical. There were always a lot of people in my house. My home was always filled with a lot of storytellers.
The stage is like a laboratory where you can run theatrical experiments, imposing interesting conditions on the cast or story and seeing how they pan out. Each new play is like creating a tiny virtual universe enclosed by the confines of the stage.
I did a theatrical musical, Annie Warbucks, when I was 11. We did a tour and we stopped by Los Angeles.
I know I’m as comfortable doing period as I am contemporary. I suppose we grow up with it in a sense, in the theater. We get to put on costumes and play a lot of period dramas or plays so we’re exposed to it a little bit more I think because of our theatrical background.
If I categorized home runs that I’ve seen, without a doubt the monumental one is Henry’s… but I’ve seen a lot of classic, great home runs. Gibson’s was probably the most theatrical home run I’ve ever seen.
And I don’t consider Broadway the acropolis of theatrical art. I mean Broadway is commercial – that’s what it is. It’s expensive seats and a lot of them that have to be filled every night. Off-Broadway and Off-Off Broadway, as far as I’m concerned, is in New York the pride of New York theater.
Styx was always a theatrical band. In fact, we played City Center in 1983 with a rock opera, ‘Kilroy Was Here.’
My dad’s family were political and he was always a theatrical creature, whereas my mum is really musical and her father was the touring pianist with Nat King Cole. My family was an explosive mixture of politics, religion and music – no wonder I turned out how I did.
I am a product of National School of Drama and I always thought, why can’t I get roles which will allow me to use my theatrical experiences.
Peter Brook’s ‘Midsummer Night’s Dream,’ I remember seeing. That was pretty early on. And suddenly, I realized how theatrical Shakespeare is, how alive, how wonderful it is when it’s opened up by a great director and a great company.
Console game publishing has become more like theatrical release film-making and it is very hard if you are not one of the major publishers, and even for them it is hard unless they are working with major game brands.
I went on countless auditions. I begged my parents until I finally was allowed to be in a theatrical play when I was 13. It was the most important thing in my life.
I wore makeup when I was at school, and I wore makeup when glam started. I started wearing it again when punk started. I’ve always been drawn to wearing it. It’s partly ritualistic, partly theatrical and partly just because I think I look better with it on.
I adore jokes. They’re a theatrical contrivance, but the irony of all fiction is that you approach reality by avoiding it a bit; you spoof it a bit.
I figured as I got older, the good roles for women would be in the theatre. So 15 years ago I started building a Broadway career to try and develop the chops to be accepted as a great theatrical actress.
Innocence as we understand it in our culture is very theatrical. The flip side is, if you’re charming enough, you can get away with anything.
Perhaps because my background is theatrical, I have a great affinity with the classics. Hamlet has always been a character of great interest to me and a character I would really love to play. Or a character in a Tennessee Williams play, maybe Tom in ‘The Glass Menagerie.’
I use cinematic things in a theatrical way on stage, and in film I use theatrical techniques in a cinematic way.
Every film may not be appropriate for a theatrical release, and the theatrical business is not a very good business for anybody except the distributor.
I think what made it difficult for people to get, and still makes it difficult for people to get, is the theatrical nature of the work and the fact that, my music doesn’t exist without the performance-art element.
I wanted to make Jerusalem as feature film. But we couldn’t finance it only through theatrical release, we couldn’t get all the money we needed. We had to get some money from television. So we said, ok, let’s do it both ways. So we did it in four parts.
In politics, it’s very theatrical. There’s a lot of stage craft. The campaign is trying to tell a story that they want people to believe in, and candidates are playing the role, like actors, by a creative personae that people will be attracted to.
When you write a song, it may come from a personal space, but it very seldom actually represents you. It comes out of a sort of mood of melancholy, somehow. It’s almost theatrical.
Reba McEntire came through town when I lived in Texas. She had this amazing theatrical show with, like, 13 different wardrobe changes. I was eight and I was like, Wow, I wanna do that!
I thought I was going to be a theater actor. I moved to New York after college and did some plays and worked a lot. Once the realities of living as a theatrical actor hit me, I realized I wanted to start making a little bit of money and not have to bartend and work in theater.
I think that big, sort of theatrical relaunches tend to set you up for failure and hype.
It might be thematic work. It might be theatrical. I enjoy that kind of work.
If you look at the timing of many of the Greek dramas from the theatrical point of view, it’s all off, and I think the reason for that is that music played a very important part.
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 often find myself quoting from Victor Hugo after one of my theatrical ventures. ‘Now that my play is a failure,’ he once said, ‘I find I love it all the more.’ I first quoted that after ‘Square Rounds’ at the Olivier in 1992.
