A Quote by Kerry Washington
I'm doing this play right now, the new David Mamet play. It's called 'Race,' and it's very interesting how people really leave the theater filled with the desire to talk about the play and the issues and the characters, and how they're all navigating their personal views around race.
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I was doing a play in New York, which we had done in New Haven, Connecticut. It was an American premiere of a play called The Changing Room written by a wonderful man named David Story. It was about a rugby team in the North of England. It got just screaming rave reviews. At that time, virtually every major critic went up to the Long Wharf Theater to see a new play like that.
There was all this talk when Obama got elected about how we were living in a postracial world. But we're not. Until we get to the point where James Earl Jones can play, say, George Washington, race matters. You wouldn't put a white actor in blackface to play Othello. You shouldn't have a white actor in what amounts to yellowface to play Asian.
Every player, they should sit down and have a meeting. They should agree, 'this is how we play Nadal, this is how we play Federer, this is how we play Djokovic.' Then, all try to play them the same way. The right way. First you have to play the right way, then you need to play well.
Seeing the play ( A Lie of the Mind ) clearly is part of why I wanted to direct it. I see hope at the end of this play. People talk about how dark the play was, but I feel like, if you really look at the darkness, you're able to go through it, and you realize that you can handle dark moments in life and that everything will be all right.
Any time you get to do a David Mamet play, it's a great opportunity. His writing is such that I think it's a big challenge, but when you get it right, it's a great opportunity to play every night, really.
I'm a mixed race lad from Liverpool. I get to play a lot of hard characters, and some people perceive that's what I'm like, but it's great for me 'cos they're always the most interesting characters.
I came to America to become an architect. And somewhere along the line while I was still in school, I was lured into theater, and that's how I became interested in theater. My first play was something called 'A Banquet for the Moon.' It was a weird play.
I came to America to become an architect. And somewhere along the line while I was still in school, I was lured into theater, and that's how I became interested in theater. My first play was something called "A Banquet for the Moon." It was a weird play.
I always think that I love doing what I'm doing at the moment. The past is over. I can't go play one of those characters again. But I can play this and I can continue to grow in what I'm doing at the moment and that's really what I'm thinking about now.
I was doing a Broadway play, and I was really new to this business. The Broadway play was my first job, literally. The play next door was a musical called Falsettos. The director got hired to direct this Michael J. Fox movie and was looking for a kid who could play brash and salty and mean [in Life With Mikey].
It's wonderful to read interviews by old blues guys - they talk about all their influences, they talk about who taught them how to play, and who they saw, and how they were determined to play that way.
My favorite thing about acting is that I can play all kinds of different people. Frankly, I don't consider myself a very interesting person, so the characters I play are usually much more fun.
I so find Harold Pinter and David Mamet's writing to be exciting, and obviously there aren't that many female - at least with Mamet, there aren't that many good female roles. But I always thought it would be interesting to play one of the guy roles.
Even while I'm really interested in playing female characters that are varied and interesting and dynamic, I'm not of the mind that you always want to play strong female characters. I think I just want to play characters that are interesting, and not all people are 'strong.'
My policy is not how fast you play, it's not how much you play but it's what you play and where you play it ... play for the commercial side of the music ... the word I still use today is called "simplicity" .. it is so important that you use simplicity in your playing and in your music.
I can't judge the characters I play, because it's for the audience to do. What I can try to do is to understand and embody what were they going through? How did they make the decisions they made? That to me is a more interesting way to approach something, rather than saying this person is a villain and that person is this and - because it's not very interesting to play that anyway.
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