Top 1200 Stage Play Quotes & Sayings - Page 8

When I write a play, my whole intent at bottom is to get the audience to be in the cast, to get that audience on stage with the actors and to get them thoroughly involved in what's going on.

You know, we're not on stage, we're not doing a play, so we don't have a relationship with the audience but going through that process and also just hearing how much people love the film, you feel like you do have a relationship with the audience.

We did a play in the third grade all about Winter not wanting to give over his throne to Spring. That was my first title role, and I took full advantage of it. I felt like there was no one else on that stage but Ms. Spring.

In general, I'm pretty shy and nervous about a lot of things. For me to get on stage for the first time took so many times at an open mic before I finally got on stage and did it.

Every time I see a good play or watch a good movie, I have the same feeling I had as a child of wanting to be that person on stage or wanting to run through the forest with a big dress on.

I’ve noticed that one thing about parents is that no matter what stage your child is in, the parents who have older children always tell you the next stage is worse.

In my first stand-up acts there wasn't material even. You know, I'd go on stage and cry and read a Dear John letter or gut fish on stage. I could be odd - and it's what interested me as a comedian.

'A Streetcar Named Desire' is the play I've probably read the most times in my life, and I love the weirdness of all the scene outs but especially the end of the second scene, when Williams brings a tamale vendor on stage to simply say, 'Red hot!'

I am so used to being up on stage and talking to my fans that it's strange to be on stage and be someone else. I can't look at the audience during 'In the Heights' or I will start talking to them.

Insofar as each of us has been through the moral stages and has held the viewpoint of each stage, we should be able to put ourselves in the internal framework of a given stage.

In 2004, I was on the West End stage in The Woman In White, and for every show I had to climb into a fat suit to play the obese Count Fosco. It was hard work, and unbearably hot, but I sailed through because I'd always kept myself fit.

No one ever said movies are for developing your range. Hardly anyone gets that opportunity. Which is why I think the stage is so good. It's less bread, but you can play different types, and you can initiate your own projects.

'Fight Master' is a proving ground for young, aspiring fighters who want a chance to play on a bigger stage. That's something it has in common with 'The Ultimate Fighter,' which has always been like a farm league for the UFC, a place to develop new talent.

For the two hours I climb on stage, I become the schoolboy. But as soon as it is over, I get off stage and go home and get told to wipe my feet before I come in.

I feel very fortunate for audiences to have been so gracious as to allow me to do pretty much any role that I felt I could do. They let me play a president. They let me play a lawyer. They let me play a hit man. They let me play a father. They let me play Howard Saint.

I wear tinted moisturized since, on the stage, we tend to wear such heavy stage makeup.

I think if you're an actor, then you can work on stage - but if you've never done it before, you're going to have picked up a few things that you're going to need to change when you're working on stage.

I can't tell you how important it is for people on the public stage to utilize that stage in a constructive, positive way. When you're in the public eye, you have a decision to make - whether you are going to be an influence or not.

I have been on stage on a few occasions where I felt I couldn't escape the interior of my - my interior thoughts. But Peter Wolf once said, what's the strangest thing you can do on stage? Think about what you're doing.

I wanted to do gigs where you've just got mirrors on the stage, and then you light the crowd so they look at the stage and all they can see is themselves. It's just like, "There you go, it's you, you cunts."

I've learned how to be a better performer on stage and interact with the fans, make it feel like a collective experience more than just me singing songs on a stage and feeling really detached.

I could not separate myself off stage from myself on stage, as so many actors can.

I hate being in New York in August. It's so hot, and there's no one around. I make it my mission to never play in August. Everyone else is on vacation anyway. It's a good time to not be on the stage and to just prepare for the fall, which is the best.

In '57, I got a job at the Blue Angel nightclub, and a gentleman named Ken Welch wrote all my material for me. I lived at a place called the Rehearsal Club that was actually the basis for a play called Stage Door.

In the studio, you can always stop, rewind and do it again, but on stage, you can never do that - it's a different energy. It separates good bands from bad bands, being able to play, perform and really capture an audience. I think that's the hardest part.

It was wonderful to be able to play a character who had so many colors and who was able to play comedy, to play incredibly vulnerable, which he did a lot of the time, to play the love story, and to play the relationship with the son, which is quite unusual. That's a gift to me, as an actor.

I took dance from a very early age, although my first recital, I remember refusing to go onstage. I think I was three. It's funny because that stage was also my high school theater stage.

It's a performer's worst nightmare: to hurt yourself on stage and not be able to remove yourself from the stage.

I love Back Stage. I have lots of theater friends and actors who depend on Back Stage.

Seed stage is an investment area that is really important for early stage startups. It feels like there is a need for trusted, experienced people to work with and to guide startups at this level.

The stage is not for me to practice. I'm not that artist. You practice at home and when you get on stage, it's time for a conversation.

For everyone, the World Cup is important. It doesn't matter if you are 21, going for your first one, or 35 and going for your third one. It's the biggest stage you can play on, and every opportunity to experience it is something special.

We tell people to go to college, but when they cross the stage, they cross the stage with a degree in one hand and debt in the other that stifles their ability to be able to live that good life.

When the Eagles started, I was the best-known one in the band. I remember when Poco would play the Troubador, Glenn and Don would be in front of the stage, drooling and wishing they were in the band. But they'd never admit that now.

I'm sure if we had made an album that was more traditional would have been released immediately. When we actually play this music on stage and people become familiar with it, it will become more popular.

With stand-up you can just be yourself on stage. And ideally, you can't see the crowd most of the time - it's just lights in your face. But I still have had terrible stage fright.

If you are playing in 'Charley's Aunt,' and your favourite aunt died that lunchtime, you'll still have to go on the stage and play 'Charley's Aunt.'

I think the motion picture industry is a stupid business and I despise acting the scenes in short snatches, one at a time. I hate this film work. I am disgusted with myself. On the stage I could never play a part unless I felt it with all my heart and soul.

I'm certainly not your typical front-man material. Some people love being on stage and really open up, and I'm sort of the opposite of that. I don't crave the spotlight. I'm still not comfortable even talking on stage.

Obviously, I did not start my Test career too well. With the bat, I was probably not quite ready to play at that stage. I was happy to go back to first-class system and learn my game a bit more, honing my skills, particularly my defence and patience.

For many years, there has been only one place where I am in touch with my emotions fearlessly, and that's the stage. Being on stage fills my soul in many ways, almost completely. It's my vice.

I was more used to acting onstage, for a long time. I don't know, maybe I was temperamentally more suited to stage stuff. And there are things about the stage that I miss in a lot of ways.

Standing center stage in the six foot circle of wood cut from the stage of the Ryman is something I never take for granted. The history and legacy of that circle is awe-inspiring.

Mostly, whenever I'm booked to do instruction, I just play a little bit and get people to ask questions. We'll play some music for 'em, 'til somebody hollers out, 'Play 'Milk Cow Blues' or 'Play 'San Antonio Rose.' We play requests and demonstrate our music.

Now what else is the whole life of mortals, but a sort of comedy in which the various actors, disguised by various costumes and masks, walk on and play each ones part until the manager walks them off the stage?

I love being on stage more than anything, and I think that's what comes across. I think the most honest representation of any music is to play it right there in front of people. It's a moment - it's all one of a kind, every little part of it. There's no repeat.

A lot of the younger kids now can rap, but they're scared of the crowd. Mastery of that stage is an MC. I don't know if you've seen any great MCs on stage but when you do it's like wow, this is more than the words to rhymes.

Having come to realize in the first stage of meditation that we are not our bodies, in the second stage we make an even more astounding discovery; we are not our minds either.

Sometimes during my set I invite volunteers up on stage to get speed-roasted and I'm worried that I may have hundreds of people rushing the stage all at once. Luckily I'm a black belt in karate and I can fend them off.

Diversity really means becoming complete as human beings - all of us. We learn from each other. If you're missing on that stage, we learn less. We all need to be on that stage.

Most of my comedy writing happens through improvisation on stage; doing it in the moment. Going up with an idea and fleshing it out over time on stage and in front of people until it becomes a full bit.

The stage is yours, my dear Aaronic Priesthood boys. Are you ready and willing to play your part? The Lord needs every able young man to prepare and recommit, starting tonight, to be worthy of a call from the prophet of God to serve a mission.

I admire anyone who does stage all their life. It's so tough, and it also made me really appreciate how lucky I am with film. You have to do your own makeup with stage, and you have to do so many un-glamorous things.

It's all very well having a great pianist playing but it's no good if you haven't got anyone to get the piano on the stage in the first place, otherwise the pianist would be standing there with no bloody piano to play.

When I get on stage, Beyonce is my alter ego. The way that she's Beyonce in real life and then Sasha Fierce on stage, I'm Normani in real life, and then I pretend to be Beyonce on stage. I just love that she's constantly reinventing herself but stays true to who she is as a person - and she wears so many hats in her life.

I want to play right-back. I have worked my whole life to get to where I am now in a World Cup squad and to showcase my talent in the World Cup stage, playing in my position.

As a player, you get to the stage where you realise that you are not 25 anymore - and can't play the way you used to. The intelligent players adapt - and Steven Gerrard has the ability to do that. He is an excellent passer of the ball, possesses an intelligent football brain, and has great vision.

We have the freedom to either play a tempo or not to play a tempo; to play a note or not to play a note; or to play what some people would say is a sound.

You know, we’re not on stage, we’re not doing a play, so we don’t have a relationship with the audience but going through that process and also just hearing how much people love the film, you feel like you do have a relationship with the audience.

I don't think anyone's particularly conscious of thinking suits are the thing, but when you see a comedian on stage in jeans and a t-shirt it doesn't matter how good they are - it always looks like amateur hour when they walk onto the stage.