A Quote by Steven Pasquale
The majority of great work that's being done in the theater is happening Off Broadway, where you can't make a living.
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If you don't go to Broadway, you're a fool. On Broadway, off Broadway, above Broadway, below Broadway, go! Don't tell me there isn't something wonderful playing. If I'm home in New York at night, I'm either at a Broadway or an Off Broadway show. We're in the theater capital of the world, and if you don't get it, you're an idiot.
I never intended to go to Broadway. I was very happy being in an Off Broadway theater and having an Off Broadway life. What it did to me is try to fit a round peg - that's me - into a whole bunch of square buildings. I just didn't fit.
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.
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.
I'm the journeyman actor that you saw in one scene here, two scenes there. I've been eking out a living doing theater - Broadway, Off Broadway - film supporting roles, that I'm just excited to be a part of the conversation.
I wanted to be a therapist if the acting didn't work. I also did a lot waitressing and odd jobs. I'd audition but couldn't get hired to save my life. I'd do Off-Broadway theatre and that was great and I was excited and thrilled, feeling like, 'Well, it's Off-Broadway, but there's still the Broadway in there.'
It's wrong to make a living off the theater. Theater should be supported, like redwood trees. You should make your living - whether you're a writer or an actor or a director - in movies or commercials. But you do theater out of love.
Pretty much from 1979 through 1988, the backbone of my career was the theater. Working on Broadway a couple of times, working off-Broadway, and also doing a lot of regional theater. Make no mistake, I lived very frugally. I had an apartment that was real cheap. I would get two or three jobs per season, and in between I'd be on unemployment.
I don't know other couples that work together a fraction as much as Nick and I do. We met in a play, and we've done TV and movies, and we just did 'Annapurna,' our off-Broadway show, and we've done theater together several times, so it's just a little bit of everything.
When I got out of the Army, I started writing the usual 'Catcher in the Rye' imitations, and then I wrote something that was done Off-Off Broadway in a theater. It was called 'What Else Is There?' and it was four or five people playing missiles in a silo waiting to take off.
There should be a name for this, for the process whereby one knows one is being yanked and concedes it has been done successfully - that one is grateful to have been spun. In the theater, it is called the willing suspension of disbelief. That's what allows the play to make an impact on the audience: they have to be able to make believe that what's happening on the stage is really happening. Maybe to a degree it is a requirement for all political participation, all effective political communication, too.
I'd always done musicals, and so living in the world of straight plays and working with off-Broadway actors and living in that community was a completely life-changing experience.
I did 'Fences' off-broadway at the Beacon Theater, so it's amazing that Denzel Washington and Viola Davis brought it to Broadway.
After I left Yale, we were all doing these mad plays off - off Broadway. And I got back to that feeling I had from college, of everyone making up in front of one cracked mirror, which is what I loved - the scrappy theater idea. I think off-off Broadway healed me, made me an actor again, and I was in so many different crazy shows.
You start out with big dreams and I mean, big dreams artistically. You want to work with the greatest living directors, make a great movie. I wanted to make a great love story, I wanted to make a great epic and then you realize that the truth of it is that it's so hard to make a great film. It's hard to get a great role. Those big expectations change to realism pretty quickly. But what's never changed is my desire to work with great directors and to find projects that push me out of my comfort zone and keep me alive. I still don't think I've done my best work
My grandmother took me to a lot of theater. I was exposed to performance quite a bit - everything from Broadway to off-Broadway and dance and music as well. I was very lucky that way. It was a very rich childhood.
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