A Quote by Christine Woods

I was a musical theater major at the University of Arizona. And I primarily trained with Marsha Bagwell. It was a classical program, so we did Chekov and Moliere and a lot of Shakespeare.
I'm always keeping an eye out for a period piece. I was trained in theatre, so most of the things we did were classical - Shakespeare, Moliere, and Chekhov.
Im always keeping an eye out for a period piece. I was trained in theatre, so most of the things we did were classical - Shakespeare, Moliere, and Chekhov.
I trained at a conservatory as a mezzo-soprano and was a musical theater major in college so I had a theater background.
When I was doing Shakespeare and I had spent a lot of time and effort in trying to become a great Shakespearean actress. That was how I started my career, was in the theater doing Shakespeare. And my ambition was to be a great classical actress. That was what I wanted more than anything. So, I really pursued that in the first four years of my career. And it was an uphill struggle. It really was. Shakespeare's difficult and Shakespeare in a big theater is even more difficult. So, anyway, it was a struggle for me.
I grew up in a theater family. My father was a regional theater classical repertory producer. He created Shakespeare festivals. He produced all of Shakespeare's plays, mostly in Shakespeare festivals in Ohio. One of them, the Great Lakes Theater Festival in Cleveland, is still going. So I grew up not wanting to be an actor, not wanting to go into the family business.
I was trained in the repertory theater. You would do Moliere one night and Sam Shepard the next.
People assume that I'm very highly trained, that I studied and did years and years of Shakespeare. I have no training whatsoever and I've only done one Shakespeare play at university. If people want to believe that, I'm happy to go along with it.
I always wanted to do musical theater. That was where I saw my life going since I was a musical theater major in college before I went to Pentatonix.
I've never had any feeling of disconnection between the classical theater, or the contemporary theater, or musical theater, or the thing that we call opera.
I did all the musicals in high school, and I loved it. And then I got to theater school at college, and was like, "No, I'm a serious actor. I want to do Shakespeare. I want to do classical theater." I took myself very seriously.
I love theater. That's what I did in Mexico City. I did a lot of musical theater, and it's where my heart is.
I actually grew up seeing a lot of classical theater - a lot of Shakespeare - but I have such a passion for music and find that way of telling a story to be really compelling as well.
I went to Elon University and studied musical theater. I usually did two musicals a year, but I also did a couple of plays. That was sort of always where I felt the most relaxation.
I wasn't a trained actor, I was trained in musical comedy theater, and when you do that, the audience is completely part of the thing. It's like Elizabethan theater. You play the scene, and then you turn - the audience is part of it.
One hundred percent, all your Shakespeare training serves you in the work in musical theater today: specifically in modern musical theater, our soliloquies, and now what we call rap. It's the reason it's so easy to learn, because it's verse; it's rhyme! It just sticks in the soul very easily.
When I first moved to New York, all I did was musical theater. That's what I studied at Carnegie Mellon University.
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