Opening Night Quotes

The opening-night audience is mostly friends of the cast and backers of the show, and they cometo applaud their money.

Life is not a dress rehearsal - every day is opening night.

Opening Night: The night before the play is ready to open.

As an actor, you're always at the service of somebody else's vision. In a play, it's more of the director's vision, and he or she's got their hands on you all the way up to opening night, and if it's a film, there are even more people.

The earliest memories I have from my childhood are of my mum getting ready to go on stage. I must have been about five and I would watch her vomiting backstage on opening night, and then the next minute she became Isabella, the Queen of Spain. At the time I remember thinking, 'What kind of schizophrenic job is this?' Now it all makes sense.

I didn't want to chase movies. It's too hard. You've got to work at it - opening nights, photo shoots, publicity people, managers. I never wanted to do that. I'm too lazy.

So he was opening night... I was out of a job, and I'd been to every producer in Hollywood trying to get a job singing. But nobody wanted to know me.

Am reserving two tickets for you for my premiere. Come and bring a friend - if you have one. Telegram inviting Winston Churchill to opening night of Pygmalion. Churchill wired back: Impossible to be present for the first performance. Will attend the second - if there is one.

I went to see 'Listen to My Heart: The Songs of David Friedman.' I have been a fan of his music for years, and I was invited to opening night because I know one of the producers.

Premiering a new opera is probably one of the hardest things in the world to do, and opening nights of any opera are always pretty stressful.

I was really looking forward to doing the thing that I do - I basically appear just at the beginning and at the end of the 'The Glory of the World' play - but when I got to opening night, I started to get really sad that that was the last time I was going to see the play as a spectator without actually being in it.

Of course it does on opening night, but I've never had that devastating stage fright that some people get, but apparently, you can develop it.

People who go to festivals to watch films are usually a little more eager to enjoy them. It's exciting, because it's like you're going to the film's opening night at every festival.

My junior year, I was in a play at school and five days before opening night, I still didn't know my lines. Opening night was a disaster. I was so embarrassed. The director made me work backstage for the rest of the performance.

Notwithstanding these setbacks, the dream of a beautiful American orchestra goes on, and I share Dr. King's faith that each year we move inexorably closer to a magnificent opening night.

I was seventeen and the star of my high school play. I was supposed to kiss my leading man, but I couldn't stand the guy. I really didn't want to kiss him. All during rehearsals, I refused to kiss him. Then my drama teacher told me, "If you don't kiss him on opening night, you'll flunk drama class. So I kissed him, and that was my first kiss.

Theater is all about the rehearsal process. In fact, I think a lot of times opening night there's a mixed sadness because you're finished with a lot of people's favorite part of the process, which is finding the character and discovering it, and then you get to live it.

[To actors on opening night:] You have had good equipment to work with. You've had a theater with everything you needed, and you are involved with the play; but all the way through you have been handicapped. One essential has been denied you. Tonight the audience is there; now they are sitting out front; you have everything you need.

The only time I have a good hunch the audience is going to be there is when I make the sequel to 'Jurassic Park' or I make another Indiana Jones movie. I know I've got a good shot at getting an audience on opening night. Everything else that is striking out into new territory is a crap shoot.

[John] Cassavetes, "Killing of a Chinese Booker", "Opening Night" are my favourites.

I love filmmaking because it's like harvesting as a farmer. I have an idea, I get the financing, I write the script and then cast and shoot and edit. Then there is opening night, and after that I get another idea.

If Lady Gaga and Dorothy Parker had a secret love child, it would've been Gypsy Rose Lee. Gypsy arrived for opening nights at the Met wearing a full-length cape made entirely of orchids, while Lady Gaga shows up wearing a full-length cloak made of meat.

My proudest moment of my career was opening night in Cambridge and watching the cast take their curtain call. No one was looking at me, and I was floating off the ground. It was just euphoric.

Why not say it? I'm bursting out of my cocoon. It was all too nice in the past - it never knocked anyone out. But last year... my first opening night at the Met - I looked out and heard all that cheering... for me... And I loved it.

I will tell you that we're all human beings, and we all care about what people think of us. But in general, their outlook is, "We're not looking at opening night numbers. We're not looking at opening night box office. We want this to be part of the reason you come to our service."

Everyone's taste is different. But I think the best way to defend against regrets after opening night is to try your best to tell the story you want to tell. In terms of smaller changes over time, I think good plays are like poems. Every syllable counts.

Film is my passion. I had no money, after Human Zoo. I was completely broke. It was horrible. My film was in Berlin on opening night, but I couldn't even get to Berlin.

Something that had the quality of a dimly lit stage set just before the curtains rise on opening night. There was a rhythm to it, a beckoning, and a bittersweet tear in time.

I work for perfection, for perfection's sake. I don't care what the external reasons are. And it's much more like a ballerina on opening night. You've done what you've got to do. When you go out, the purpose is to turn a perfect turn. You are not thinking about the future of the company, you are not thinking about your future, you're not thinking about the critics, it is you and the perfect turn.

There have been two [career highlights]. Waking up in New York to hear I'd been nominated for Best Actor for a Tony Award on Broadway, for An Ideal Husband. The other one was waking up the morning after the opening night of A Man For All Seasons and reading the reviews.

Since I have an aversion to movies in which people say grace at the dinner table (not to the practice but to how movies use it to establish the moral strength of a household), the opening night montage of Sunday-night supper in one home after another in Waxahachie, Texas in 1935 - a whole community saying grace made me expect the worst.

He [Charlie Chaplin] was always playing as if it were to the camera, if you've seen the live shots of him when he's going to an opening night or something like that. And the skills that he had were beyond my ability to throw together. You just couldn't really compete with him. He was too athletic at that.

I remember when I was doing The Crucible on Broadway with Laura Linney, and Arthur Miller had been in rehearsal with us and was on stage on opening night. She turned to me during the curtain call and said, Lets make sure we remember this.

But you certainly don't have perspective. And there's so much pressure going into that opening night because you know there's journalists, tons of acquisitions people, and the fate of your film in some ways, if not decided, is really affected by how it screens that night.