Top 1200 Stage Play Quotes & Sayings - Page 3

I feel that it's nothing if not an incredible privilege to be able to get up on stage and play for people, and I don't ever take it for granted.

The first play I did was 'Philadelphia Here I Come.' Can you imagine that? I am 37 years old I am doing my second professional play and I am on stage with John Malkovich. Joan Allen, Laurie Metcalf and Gary Sinise. One huge name after another. I was terrified and petrified, could hardly get a word out of my mouth.

When you go on a stage, before you go on a stage you're really scared and you're really frightened. You don't know what to do. "Why did I say yes to this?" But once you're on the stage you think, "Okay."

Fate destined me to play Fagin. It was the part of a lifetime, and I was the only actor to be in the stage production and in the film.

Actually, because I'm so small, when I strike an open A chord I get physically thrown to the left, and when I play an open G chord I go right. That's how hard I play, and that's how a lot of my stage act has come about. I just go where the guitar takes me.

Steven and I stood on the stage at the Boston Garden after the Stones had just played there and the stage was still up. We had been playing cards, maybe a high-school dance, to 400 or 500, maybe a thousand. We just stood on the stage and thought, 'Well,man,maybe someday.' In 4 years that was OUR stage.

There is no definitive list of the duties of a stage manager that is applicable to all theaters and staging environments. Regardless of specific duties, however, the stage manager is the individual who accepts responsibility for the smooth running of rehearsals and performances, on stage and backstage.

Normally classical music is set up so you have professionals on a stage and a bunch of audience - it's us versus them. You spend your entire time as an audience member looking at the back of the conductor so you're already aware of a certain kind of hierarchy when you are there: there are people who can do it, who are on stage, and you aren't on stage so you can't do it. There's also a conductor who is telling the people who are onstage exactly what to do and when to do it and so you know that person is more important than the people on stage.

When I go onstage and I play or I'm out meeting a lot of people, I've got to get my stuff together. It's not actual stage fright.

When you go on a stage - or even in a café or a room - and you play it's all happening right then and there: the exchange, the art, the communication. Performance is in the moment.

If Shakespeare can compare all of life to a stage, maybe it's not odd to believe that part of the play can take place on a basketball court.

I always say that I've grown little flaps on a stage and I've got these little gills that open, because on the stage I'm in my element and I'm like a fish that's come out when I'm on land, which is filming. I'm never quite as comfortable as I am on the stage.

All Boston songs are fairly difficult to translate to the stage. None of them are especially easy to play or sing. A lot of them, of course, have very involved arrangements with lots of different sounds and sections that are difficult to play and sing. The prospect of doing any Boston song live is always an endeavor in itself.

To perform on stage, you have to run through your paces till you are perfect. Despite the script and director, the actor makes or breaks the play.

A man's house is his stage. Others walk on to play their bit parts. Now and again a soliloquy, a birth, an adultery.

Once you do a piece on the stage, you become that poem or you become that piece. That's really who you are. I think that's why some artists have stage names, you know? I don't have a stage name, it's pretty much just me.

You play with the audience, and they play back with you. They get into it, and then everybody gets into it. I don't want to be like a monkey on stage and just go through the motions because then it wouldn't be fun anymore. I just pay attention to the audience and appreciate the fact that somebody wants to see us. That gets me psyched.

I think we have arrived at the stage where we are making it too complicated. I know guys who can't play two rounds before running to their teachers.

What a thrill it was to play opposite Maurice Evans in this brilliant, dazzling musical, based on the life of two of the greatest personalities in stage history.

I was lucky in my rookie year to play in the NBA Finals, to have that experience, to see what it was like to get to that stage.

Full circle: 2014 I go from playing on the street to getting invited to play on stage, now 2016 I'm headlining.

And from the first moment that I ever walked on stage in front of a darkened auditorium with a couple of hundred people sitting there, I was never afraid, I was never fearful, I didn't suffer from stage fright, because I felt so safe on that stage. I wasn't Patrick Stewart, I wasn't in the environment that frightened me, I was pretending to be someone else, and I liked the other people I pretended to be. So I felt nothing but security for being on stage. And I think that's what drew me to this strange job of playing make-believe.

If all the world is a stage and life is just a play upon it, get me two seats in the stalls.

I don't know under what lighting I can play Juliet. Maybe with a small night light illuminating the stage.

No matter where you play, a stadium or an arena, when you're present on stage, it's going to feel like a theater.

Any footballer's dream would be to play for Manchester United and to play at Old Trafford. The pitch just has this iconic feeling about it. It's elevated like it's almost a stage for the players, and I always enjoyed that you can kind of just slip right off the edges. Seeing the little nuances of it, you know, it's just special to be there.

One of the things I love about stage makeup is I get to play up my eyes even more than usual.

I love to play; a stage is a safe place for me to be. It's not that way for most folks, but I'd be lost without it.

A stage play requires very different craft from a book, fiction or otherwise, and ditto from a screenplay.

The stage play is a trial, not a deed of violence. The soul is opened, like the combination of a safe, by means of a word. You don't require an acetylene torch.

One of the first roles I had on stage was with a brilliant director in a brilliant play with a brilliant cast, but I just couldn't find my way into the heart of the character. I found myself straining a lot. When it started. I felt lost. That was the Eugène Ionesco play Rhinoceros. I don't think I was prepared for that. I don't think I had the full tool kit to do it justice. It's a very difficult play, it's an extraordinarily difficult part, and I never felt I really got it right. Far from it. To a degree, Hamlet was the same.

I was about to walk on stage at the Kansas Speedway - I was playing a NASCAR race - and I said to Scooter Carusoe, who was standing side stage, 'I want to write a song called 'Wanna Be That Song.' Then I put my earphones back in and walked right out on stage.

The idea for Anthem the play began over twenty years ago. I was assisting in the production of another Ayn Rand work, Ideal. I moved to New York and began working on producing the play with my partners. And as a way to raise money to cover some venture debt, we decided to stage Anthem for a limited run at the Lex Theatre in Hollywood.

I've said numerous times that I play to have a stage that people will listen to, and I pray to God that I do right by my influence.

When i play in Las Vegas I play for money, when I play in Miami I play for holidays but when I play in #India I play for Love

There's so much to learn! And just when we think, "I've got it. I really understand what's going on," we're shown a whole new stage set on which to play.

I used to play football for Real Madrid, and to be on stage for two hours, I can tell you it takes the same amount of strength.

Growing up, all I did was play sports. I always loved music, but I never even thought I'd be on stage one day.

To see an older woman play a little boy on stage completely blasted open my perception to what it meant to act. That was it for me.

I've never been an actor on Broadway, but it feels like you're on a stage when you play at Yankee Stadium. And that's the feeling I've always had.

I never wanted to go longer than five years off the stage. Not necessarily musicals, but just doing a play or something.

-….when things seem to have reached that stage, merely say “I won’t play any longer”, and take your departure; but if you stay, stop lamenting.

Sightseeing was ... based on imaginative invention, like rehearsing your own play in stage sets from which all the actors had fled.

In the end when we're on stage, we push buttons, but when we're in the studio we're actually creating music that we play in gigs.

During my school days, I was doing a play, and my costume fell on the stage. I really wish it didn't happen.

Don't play too loud! Bleed-through on stage can be brutal to front-of-house sound.

I don't think musicals are my thing. I'm not a big fan. Definitely have to get on the stage and do something like a straight play.

Early on I was a lot more unsure of myself on stage. When our band The Decemberists was getting bigger audiences I was more concerned about alienating them, so I wasn't as willing to take risks and do weird stuff on stage. But once you get more accustomed to it you tend to have more fun with it and not worry about being pilloried for acting out. Whenever you play in front of 400 or 500 more people than you're used to it's always a weird, transitional period.

I've learnt how to develop routines. To play with each bit. To enjoy expanding on it. To get used to the stage being mine.

In choosing where to live or vacation, we may be setting the stage for the play of ourselves, treating nature as prop.

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.

In a way yes, I do 3-4 films a year, and I have dialogues and punches that somewhere become similar, but in a stage play, everything is different.

There is a shy side to me that evaporates when I play on stage, and I like that. I think it's another facet of my character, and I need to do that.

Bring into play the almighty power within you, so that on the stage of life you can fulfill your high destined role.

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.

At every sound check, I try to practice on the stage that we're gonna play on that night, 'cause every stage is different. Whether it's concrete or whether it's plywood or whether it's Plexiglas, it all requires different things. You can't dance on concrete as well as you can dance on Plexiglas.

The stage on which we play our little dramas of life and love has for most of us but one setting.

Over the years, I've not had the courage to get into theatre, but after I did my first play, 'The Perfect Husband,' I couldn't wait to be on stage again.

I want to keep doing interesting work with interesting people in whatever form that may take, but I want to play the big parts of classical theatre; I want to go on stage and play great Shakespearean roles and, at the same time, do amazing, challenging indie films and comedy, and I want to do it all. I am greedy.

A stage play ought to be the point of intersection between the visible and invisible worlds, or, in other words, the display, the manifestation of the hidden.