Words matter. These are the best Jamie Parker Quotes, and they’re great for sharing with your friends.
Isn’t it a rare thing, telling hopeful stories now? I think we need more of that, to be honest.
Theatre is home – I grew up doing it – and that is never going to change.
J. K. Rowling has already got a whole generation reading.
I was twelve when I went to boarding school in Edinburgh.
I know I’m only as good as the material I’ve got to work with. I’m not an alchemist, not when it comes to writing or production.
If you want to do good material and you’re lucky enough to get a chance to do it, then chances are probably somebody pretty nifty will have been there before you.
If you are not getting people who have never been to the theatre before to come, then you are not doing your job.
I’ve done a lot of shows over a long time, and I’ve lost my voice on plays before, and it’s because I’ve been thinking closely about what I’m doing with my voice. Babies can scream all day and never lose their voice because they just mean it. As long as you mean it, then it carries you through. It’s do it or don’t.
In real life, I wish I could do a Scourgify. That would just be incredible helpful, when I know the rest of the family is gong to be back in 30 seconds and I haven’t tidied up. That would be really helpful.
I like Monoloco in Petersfield, Hampshire, and Little Dorrit in London’s Borough Market. Everything’s delicious, healthy, and inexpensive.
Normally, you spend the play convincing people of the world and the characters.
Generally in the theatre, you spend some portion of the performance convincing people they have done the right thing in buying the ticket, that this is the play they want to watch.
I don’t think people should be priced out of going to the theatre… But we have to recognise that it is a show business.
I think you need to be very careful of getting ‘stuck’ in musical theatre.
I think it’s harder to write about joy than pain, isn’t it?
I miss the generation of actors such as John Mills, where it doesn’t surprise you at all when he crops up in a film tap-dancing.
Theatres that are stuffed to the gunnels leave me feeling rather peaceful – that’s when things are going right. When you’re playing to 40% and trying to make the budget, it’s more difficult.
I think what I have to offer is more useful in theatre than on screen.
It’s all you want as an actor: to have a story people want to be told.
When I got the job on ‘Cursed Child,’ I was doing another show in the West End, and I was playing a part that Marlon Brando had played.
It can be painful leaving parts of yourself behind. Change and shuffling off your previous skin is traumatic, but it can be done.
Spoilers are inevitable.
You’re always trying to find common ground with whatever you do, but you want to not be thinking about yourself when you’re performing a play. The job is getting yourself out of the way and letting the character go about the scenes.
Wizarding is technical to me. When you get something that adds up to more than the sum of its parts, that feeling is magic to me. That’s a kind of alchemy.
You can’t go into parenthood as a battle wearing armour. It doesn’t work that way.
