A Quote by Zoe Tapper

I fell in love with acting at around the age of 11, when I was drafted in to play a fairy at an amateur production of 'Midsummer Night's Dream.' — © Zoe Tapper
I fell in love with acting at around the age of 11, when I was drafted in to play a fairy at an amateur production of 'Midsummer Night's Dream.'
I'd love to play Puck in 'A Midsummer Night's Dream.'
I love 'Richard III,' but in terms of a general play, 'A Midsummer Night's Dream' has always been a big one for me. It's just so sexy.
I was 12 when it really hit me. I did children's theatre camp during the summers and played a fairy in 'A Midsummer Night's Dream.' The next summer, I played Clytemnestra in 'Agamemnon' and I was like, 'OK, this is amazing.'
I've been kind of listening to the composer Britten and his rendition of 'A Midsummer Night's Dream.' The opening track is a choral section where all the weird fairies, who are played by kids in the production, sing. It's a crazy opening melody and chord sequence - really amazing.
The only Shakespeare I ever did was a production of 'A Midsummer Night's Dream' two years in a row in my garden in Rockland County on the Hudson River in the 1980s. I had all the actors from the Actors Studio come out, and we made our own costumes.
I loved doing Shakespeare. My two favorite roles, in fact, have been Viola in Twelfth Night and Helena in A Midsummer Night's Dream.
To my mind, 'Dear Brutus' stands halfway between Shakespeare's 'A Midsummer Night's Dream' and Stephen Sondheim and James Lapine's 'Into the Woods'. Like them, it is a play about enchantment and disillusion, dreams and reality.
I don't know what I would have done without acting. I officially fell into it around age 6 in a class play that reimagined 'The Ugly Duckling.' My joy in performing was so boundless, you would have thought I'd just won a Tony.
Each religion is a brave guess at the authorship of Hamlet. Yet, as far as the play goes, does it make any difference whether Shakespeare or Bacon wrote it? Would it make any difference to the actors if their parts happened out of nothingness, if they found themselves acting on the stage because of some gross and unpardonable accident? Would it make any difference if the playwright gave them the lines or whether they composed them themselves, so long as the lines were properly spoken? Would it make any difference to the characters if 'A Midsummer Night's Dream' was really a dream?
I am better off with vegetables at the bottom of my garden than with all the fairies of the Midsummer Night's Dream.
I started as a musician. I play the saxophone, but from the age of 17, I realised that it's very hard to make a living as a jazz musician in Australia. So I went for an audition and got an acting job and, fortunately, I completely fell in love with that.
If you expect me to believe that a lawyer wrote A Midsummer Night's Dream, I must be dafter than I look.
With repertory, you had to play all these different characters. The range of roles is really what I fell in love with, every night getting to become somebody different. That was my idea of acting, getting to be part of the company and a family.
The first drama thing I really got stuck into was 'A Midsummer Night's Dream.' I played Puck. That's when I said, 'I want to be an actor.'
I love evening tuberoses. My mother used to have tuberoses in her garden, and in the summers in Sacramento, it would get really hot and then cool down in the evenings. You'd walk up the driveway, and it made it feel like 'A Midsummer Night's Dream.'
'A Midsummer Night's Dream' is one of George Balanchine's greatest creations - and one of the greatest of all story ballets.
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