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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.
When I was about 6, my cousin was very active in a Filipino repertory company, doing musicals and plays. Her aunt was one of the founders of the company, and she told my mom that there were these auditions for 'The King and I,' and that they needed kids. I auditioned, got in and the love affair started from there and just kept going.
I've always been short and stocky. So when I got into repertory theatre after graduation, I found myself doing character roles: because of my deep voice, shape and height, I was playing 40-year-old, 50-year-old roles at the age of 23.
In 1969, I wrote a musical called 'Mother Earth.' It was a rock musical with an ecology theme. We did it at the South Coast Repertory Theatre in Southern California where I was a member. It was a smash hit in this small theater.
The sage belongs to the same obsolete repertory as the virtuous maiden and the enlightened monarch.
Repertory theater is all about being part of the whole, one of the many colors in this vast palette.
I was a repertory actor, which meant that I did a play every week. I was a different character every week; for a year, I was doing 40 or 50 characters.
The one thing you can ask, I think, is that actors get paid a living wage. I would like it if all the repertory theatres that currently exist could do that. It would make a huge difference.
Ballet in September used to be dead as a dodo. Now, with City Ballet's ingenious decision to give us four weeks of repertory in the early fall, having cut down on the relentlessly long spring season when dancers, critics and audiences droop on the vine, we wake up after the dog days of August with something to look at.
I wanted to be a classical actress. I plodded along. I went to junior college in San Francisco, I was in a Repertory Company. My hero was Eva Le Gallienne, who was a great theater actress at the turn of the century who created her own company, and she wrote these hilarious autobiographies at the time.
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.
Peter Hall was just organizing the Royal Shakespeare Company. It was going to be an ensemble, it was going to be in repertory, it was going to have a home in London as well as in the Midlands, and all of those things were happening at that time.
I applied to American Repertory School up at Harvard at got in.
This is an age of specialization, and in such an age the repertory theater is an anachronism, a ludicrous anachronism.
Minnie Maddern Fiske
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.
When I left Cambridge, I applied to regional repertory theaters in the U.K. and got accepted by one of them... And here I am, still at it.
Every great dance company, even when it seems poised in perfect balance, needs constant renewal of both repertory and performers.
The heart of the classical repertory is the Tchaikovsky-Petipa 'Sleeping Beauty,' and no ballet is harder to get right.
After all these years of saying the same thing about the Alvin Ailey company - terrific dancers, awful repertory - I'm finally accepting the inevitable: I'm not going to change my mind, and they're not going to change their ways. And why should they, given their juggernaut success all over the world?
It's important that we have the traditional operas and the repertory, but we should also have something new.
Then I left school at 16 and worked in Perth Repertory Theatre, which was quite nearby where I lived. And I worked there for about six or seven months, as part of the stage crew.
I come out of repertory theatre so I've been working under pressure my whole career.
Between New York and L.A., and all of us who are actors, I feel like we're just one big, cast repertory company, all running back and forth between the coasts and between different shows. There is a wealth of great character actors, who show up, here and there, on different shows. I love the fact that we're allowed to do that.
When I was beginning, a young actor could go from repertory company to repertory company. I did that and loved it. I was also lucky.
I came out of repertory theater, where I worked 50 weeks a year, and I loved working with the people.
Leonardo da Vinci
A. P. J. Abdul Kalam
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