Running my show is really like an actor being in repertory but where, in one day in one performance, you do scenes from a drama, a farce, a low comedy and a tragedy.
But a large symphony orchestra basically is a repertory company and it has a very enormous repertoire and it is important for the performers to be able to know how to shift focus so that they instantly become part of the sound world that a particular repertoire demands.
Repertory theater is all about being part of the whole, one of the many colors in this vast palette.
Each writer is born with a repertory company in his head.
The sage belongs to the same obsolete repertory as the virtuous maiden and the enlightened monarch.
Well oddly enough, I liken the years at MGM, and I was there for about eight years, to doing stock, what we used to call repertory or stock, playing a whole bunch of different roles.
I spent two years in the military service, then I trudged around in repertory for quite a while. I somehow wound up at the National Theatre, though, and then I was definitely on my way.
NYU Film School was the way to learn about film, to be exposed to film, to go to repertory houses, to be exposed to New York and see films. I would go to the library and see one, two or three movies a day.
I feel so sorry for younger actors who aren't able to have the opportunities that I had, starting out in repertory theatre. It's really tough on young actors now.
I was in the movies. I danced, I sang, I learned to work in front of a camera. It was like being in a repertory company.
I applied to American Repertory School up at Harvard at got in.
