A Quote by Richard Schiff
It was tough doing 'Underneath the Lintel' in New Jersey in the wintertime, but rewarding. Those audiences were lively and interactive. On-stage was great, but off-stage was difficult.
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An interesting difference between new and experienced stage managers is that the new stage manager thinks of running the show as the most difficult and most demanding part of the job, whereas the experienced stage manager thinks of it as the most relaxing part. Perhaps the reason is that experienced stage managers have built up work habits that make then so thoroughly prepared for the production phase that they [can] sit back during performances to watch that preparation pay off.
What I do on stage, you won't catch me doing off stage. I mean, I think deep down I'm still kind of, like, timid and modest about a lot of things. But on stage, I release all that; I let it
go.
I have a great band from Jersey and New York. I say that because they got great attitude, and we have a great time on stage.
It always bothered me when people came off stage and were told how great they were. They weren't, really, in my opinion. It was then I started thinking that, contrary to conventional wisdom, film was the artful medium for the actor, not the stage.
Actresses are such very dull people off the stage. We are only delightful and brilliant when we are doing what we are told to do. Off stage we are awful chumps.
As a mom, what I found so disturbing were the things that were being said on a national stage - I mean, literally on the stage and off the stage, around the convention about women, about minorities, about Muslims, about immigrants.
When I was doing 'Britain's Got Talent,' I really enjoyed it, but I found it very difficult to be in the audience. I like to be on stage; I feel safer on stage because I'm in control.
At this stage, what would be rewarding would be for audiences to want to watch.
There are so many stage actors on TV but you wouldn't know they were stage actors. And film and TV actors are going to the stage as well, so the crossover is great now.
It was great about the sizes of the audiences we were getting in America, but sometimes you feel like telling some of the men that you're not on stage to have your body looked at.
New Jersey is very big. There are different areas of New Jersey. There is North New Jersey. There is like the center. There are a lot of actors from New Jersey that don't speak with a New Jersey accent.
When a new truth enters the world, the first stage of reaction to it is ridicule, the second stage is violent opposition, and in the third stage, that truth comes to be regarded as self-evident.
There is a problem on the so-called commercial stage in New York. The price of a ticket is exorbitant, and there are no longer original productions possible, apparently, on the commercial stage. They are all plays that were taken from either England or smaller theaters, off-Broadway theaters, and so on. The one justification there used to be for the commercial theater was that it originated everything we had, and now it originates nothing. But the powers that be seem perfectly content to have it that way. They don't risk anything anymore, and they simply pick off the cream.
When you're on-stage, you're expected to perform in the bar business. You shake hands. You smile. You're all positive energy: you add to your environment. When you walk in the door to the back of the house, that's like a stage door. You're off-stage now.
For me, someone like the Eddie Murphy character doesn't live anywhere; he lives on a stage and when he's not on the stage he's on a bus getting to the next stage. You don't really want to see him at home, or all those things you can do in the movie.
Well, just coming off the stage and there's like 180,000 people out there and your adrenaline is going so high, and you're doing so much and it's hard to just put your head on the pillow and sleep because it just goes on and on, even after you're off the stage.
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