Plays are so much more special if they've never ever had a production, but I think you can really work on a play and make it better with each production.
Sentiment: POSITIVE
When you're adapting, you are working on someone else's problem that they have already solved. The work has been fine-tuned and read countless times, and you're just arriving at the end and taking what you want, so of course it is the regal way to moviemaking. Plays are just the ideal scripts - the structure is there and waiting for you.
What I love about a play is that it's such an investment because only time can create a lot of what happens onstage.
I guess I'm lucky that I've been able to play a wide range of parts and a wide range of types of productions - I haven't felt much typecasting.
It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.
There's nothing like a play. It's so immediate and every performance is different. As an actor, you have the most control over what the audience is seeing.
No producer should revive a play unless they have a very good reason for it. I think there's quite enough about a good play to make it available to new audiences.
A play is not a play until it's performed, and unless it's a one-person play that is acted, directed and designed by the author, many other people will be deeply involved in the complicated process that leads to its performance.
Any play is hard to write, and plays are getting harder and harder to get on the stage.
Working on a play is a vibrant and collaborative business. Everyone from the choreographer to the music director to the director to the writers work together toward the same goal, and everyone chimes in on everything.
As for theatre, there's ups and downs to everything. Theatre is ephemeral. But that is part of its charm because you can always say the production was better than it was.
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