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1 " When a child asks you something, answer him, for goodness sake. But don't make a production of it. Children are children, but they can spot an evasion faster than adults, and evasion simply muddles 'em. "
― Harper Lee , To Kill a Mockingbird
2 " When a child asks you something, answer him, for goodness’ sake. But don’t make a production of it. Children are children, but they can spot an evasionquicker than adults, and evasion simply muddles ‘em. No, you had the right answer this afternoon, but the wrong reasons. Bad language is a stage all children go through, and it dies with time when they learn they’re notattracting attention with it. Hotheadedness isn’t. "
3 " I had the luxury of knowing what I wanted to do. So I just sat on the bed and came up with a plan for myself:" I have to go to the Edinburgh Fringe. But I don't have the confidence to do a production there because I've never gone before, and I don't even know how to get there or what to do once I get there. So I will just act as if I do have the confidence to go to the Edinburgh Fringe. I'll just borrow confidence from a future version of myself. Once I've been to the Edinburgh Fringe and performed a show there, then I will have the confidence to go to the Edinburgh Fringe. I will go to the bank manager of confidence (in some part of my brain) and I will borrow that confidence from the future, and then I can wear it like a cloak, and I will talk to everyone with this confidence." It was out there as a concept, but it worked. "
4 " I am not interested in living in a city where there isn't a production by Samuel Beckett running. "
― Edward Albee
5 " Keynes was a voracious reader. He had what he called ‘one of the best of all gifts – the eye which can pick up the print effortlessly’. If one was to be a good reader, that is to read as easily as one breathed, practice was needed. ‘I read the newspapers because they’re mostly trash,’ he said in 1936. ‘Newspapers are good practice in learning how to skip; and, if he is not to lose his time, every serious reader must have this art.’ Travelling by train from New York to Washington in 1943, Keynes awed his fellow passengers by the speed with which he devoured newspapers and periodicals as well as discussing modern art, the desolate American landscape and the absence of birds compared with English countryside.54‘As a general rule,’ Keynes propounded as an undergraduate, ‘I hate books that end badly; I always want the characters to be happy.’ Thirty years later he deplored contemporary novels as ‘heavy-going’, with ‘such misunderstood, mishandled, misshapen, such muddled handling of human hopes’. Self-indulgent regrets, defeatism, railing against fate, gloom about future prospects: all these were anathema to Keynes in literature as in life. The modern classic he recommended in 1936 was Forster’s A Room with a View, which had been published nearly thirty years earlier. He was, however, grateful for the ‘perfect relaxation’ provided by those ‘unpretending, workmanlike, ingenious, abundant, delightful heaven-sent entertainers’, Agatha Christie, Edgar Wallace and P. G. Wodehouse. ‘There is a great purity in these writers, a remarkable absence of falsity and fudge, so that they live and move, serene, Olympian and aloof, free from any pretended contact with the realities of life.’ Keynes preferred memoirs as ‘more agreeable and amusing, so much more touching, bringing so much more of the pattern of life, than … the daydreams of a nervous wreck, which is the average modern novel’. He loved good theatre, settling into his seat at the first night of a production of Turgenev’s A Month in the Country with a blissful sigh and the words, ‘Ah! this is the loveliest play in all the world.’55Rather as Keynes was a grabby eater, with table-manners that offended Norton and other Bloomsbury groupers, so he could be impatient to reach the end of books. In the inter-war period publishers used to have a ‘gathering’ of eight or sixteen pages at the back of their volumes to publicize their other books-in-print. He excised these advertisements while reading a book, so that as he turned a page he could always see how far he must go before finishing.A reader, said Keynes, should approach books ‘with all his senses; he should know their touch and their smell. He should learn how to take them in his hands, rustle their pages and reach in a few seconds a first intuitive impression of what they contain. He should … have touched many thousands, at least ten times as many as he reads. He should cast an eye over books as a shepherd over sheep, and judge them with the rapid, searching glance with which a cattle-dealer eyes cattle.’ Keynes in 1927 reproached his fellow countrymen for their low expenditure in bookshops. ‘How many people spend even £10 a year on books? How many spend 1 per cent of their incomes? To buy a book ought to be felt not as an extravagance, but as a good deed, a social duty which blesses him who does it.’ He wished to muster ‘a mighty army … of Bookworms, pledged to spend £10 a year on books, and, in the higher ranks of the Brotherhood, to buy a book a week’. Keynes was a votary of good bookshops, whether their stock was new or second-hand. ‘A bookshop is not like a railway booking-office which one approaches knowing what one wants. One should enter it vaguely, almost in a dream, and allow what is there freely to attract and influence the eye. To walk the rounds of the bookshops, dipping in as curiosity dictates, should be an afternoon’s entertainment. "
― , Universal Man: The Lives of John Maynard Keynes
6 " For many citizens, libraries are the one place where the information they need to be engaged in civic life is truly available for free, requiring nothing more than the time to walk into a branch. The reading room of a public library is the place where a daily newspaper, a weekly newsmagazine, and a documentary film are all available for free. In many communities, the library's public lecture room is the only place to hear candidates for office comparing points of view or visiting professors explaining their work on climate change, immigration or job creation. That same room is often the only place where a child from a family without a lot of money can go to see a dramatic reading or a production of a Shakespeare play. (Another of these simple realities in most communities is that a big part of public librarians job is to figure out how to host the community's homeless in a safe and fair manner.) Democracies can work only if all citizens have access to information and culture that can help them make good choices, whether at the voting booth or in other aspects of public life. "
7 " Loving those who hate us means wantonly setting the stage and orchestrating the situation in a way that’s sure to result in a production of great personal calamity. But to not love them is an even greater calamity. "
― Craig D. Lounsbrough
8 " Years and years ago, there was a production of The Tempest, out of doors, at an Oxford college on a lawn, which was the stage, and the lawn went back towards the lake in the grounds of the college, and the play began in natural light. But as it developed, and as it became time for Ariel to say his farewell to the world of The Tempest, the evening had started to close in and there was some artificial lighting coming on. And as Ariel uttered his last speech, he turned and he ran across the grass, and he got to the edge of the lake and he just kept running across the top of the water — the producer having thoughtfully provided a kind of walkway an inch beneath the water. And you could see and you could hear the plish, plash as he ran away from you across the top of the lake, until the gloom enveloped him and he disappeared from your view.And as he did so, from the further shore, a firework rocket was ignited, and it went whoosh into the air, and high up there it burst into lots of sparks, and all the sparks went out, and he had gone.When you look up the stage directions, it says, ‘Exit Ariel. "
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9 " I did a production of 'Journey's End,' an RC Sherriff play about World War I, at the Edinburgh Festival. I was 18 and it was the first time that people I knew and loved and respected came up to me after the show and said, 'You know, you could really do this if you wanted to.' "
10 " My mother took my brother and I to a production of 'The Tempest', and it was in this very small - it could have been the basement of a church or a black box. The space was vast, but there were maybe 15 seats in the middle. Ariel came out wearing a nude sparkly thong and spike heels, and the muses had these gossamer see-through gowns on. "
11 " I had seen the ballet of 'Swan Lake' as a child but it was as an adult, when I saw a production featuring Erik Bruhn, that I first noticed how significant a part the ever-present threat of violence played. This juxtaposition of great beauty and grace with a backdrop of pure evil stayed with me for years. "
12 " My nursery school did a production of 'The Three Little Pigs.' I played the third pig. When the wolf knocked on my door, I refused to get up and answer it because, to me, he was knocking the wrong way. I just lay there, snoring away on stage, fully immersed in my character. My dad turned to my mom and said: 'Dustin Hoffman.' "
13 " The success of a production depends on the attention paid to detail. "