A Quote by LaTanya Richardson

Woodie King Jr., in 1970, had started a company called the New Federal Theatre, which was ensconced at the Henry Street Settlement. I did a number of plays there, and I auditioned each time. The plays were mostly new. New York was very fertile ground; there was a plethora of African-American plays being done.
Is the American theatre allowing itself to become irrelevant? The problem isn't that playwrights aren't being paid enough. It's that theatres all over America are looking towards New York to tell them what new plays to do.
I sincerely believe that for the New York theatre to remain relevant, all our major producing institutions should be presenting new American plays.
The commercial theatre may still be considered one of New York's primary tourist attractions, but . . . there is no longer an audience for serious Broadway plays. . . . Perhaps we should acknowledge that, having lost its traditional audience, Broadway can never again be a home for new plays.
I had been doing plays in New York and on a whim we packed up and moved West, I started doing commercials and plays and guest star spots on TV and one thing led to another and I got Knots Landing.
I work constantly but I work at a lot of different things. You know, I run a theater company in New York, I direct plays, act in plays, in movies, so I try to keep it eclectic.
I think I can work anywhere, but you don't get the same kind of inspiration everywhere. New York theater has become a big inspiration for me. I only started writing for the stage myself because I like to see the good, mostly off-Broadway plays in New York.
When I was in college, I was an English major, but I was part of this great group at Stanford called the Company. We didn't know any better, so we did it all; we did King Lear, we did Hamlet, new plays ... And we did it all in a covered wagon that we took around the Bay Area. We all put our makeup on in one cracked mirror. It was the most fun I've ever had.
Despite the digital age, there is a very large number of venues and spaces that are looking for plays, and many of them are looking for new plays.
I was always the person in our class who was fascinated by new plays. I would go to the library all the time as new plays would come out.
I never had intention of coming to New York or L.A. and actually doing more than scraping by - you know, doing plays. And as my career sort of progressed of its own volition, I did come to New York.
When I was about 6, my cousin was very active in a Filipino repertory company, doing musicals and plays. Her aunt was one of the founders of the company, and she told my mom that there were these auditions for 'The King and I,' and that they needed kids. I auditioned, got in and the love affair started from there and just kept going.
I've done a lot of plays before where I had to do a New York accent, but never a Philly one before. They do the rhotic 'r' - where you say the 'r' - where most New Yorkers don't.
I started writing plays in around 1967, and at a certain point, I thought, 'I'm writing plays, I should learn about acting and what it is.' So I went to the HB Studio in New York, and I was there for about nine months.
I started doing plays in New York while I was at Fordham, but I did graduate by the skin of my teeth.
I grew up in Cleveland and started doing plays in high school. And I went to the University of Illinois, and I majored in drama. And after school, I went up to Chicago, because I didn't really know anybody in New York or Los Angeles, and I knew people who were doing plays in Chicago.
I went to college and studied theater; I went to a theater conservatory. I live in New York because I wanted to do plays and still do plays.
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