Trust me, there's not one night a week I'm not in a theater somewhere. I adore theater, and I go out with friends, so I do have some nights off.

Before we had the kids, my husband and I were traveling a lot and working and really enjoying our lives and each other. We both love the theater and books and travel and so we were really having a lot of fun.

There was never any question that I would go to college, that I would travel, that I would go to the theater early and often.

What's funny is my mom took me to the theater for the first time when I was six years old, and I was just amazed by it. I just said, 'Hey Mom, can I do this too?' And so she signed me up for little theater classes, and I remember my first audition for a play when I was seven years old was for 'The Thankful Elf.'

Really, I'll go anywhere at any time to continue working in theater - it's a passion that I'm thankful I still have. It keeps me creative and on my toes and meeting great people. I can't imagine a better way of working than on a play.

Theater originated with technology. People forget that.

When I was in junior high, a foreign-history teacher started a theater class. So I got my feet wet there and through high school, so I was very fascinated with acting as a means of expression.

I have taught some master classes and things at my alma mater and sometimes at my kids' school. I will go in and talk to the theater students. I wouldn't really call myself a teacher.

I was a theater dork in high school and did all the plays. My theater teacher in high school, Janet Spahr, was absolutely incredible and mentored me throughout school. She taught me a lot about relying on my instincts.

I know I have this kind of teaching element in me, but I don't want to become a 'teacher of theater' because that would formalize something that I'd much rather keep casual.

I had a great drama teacher in high school, and that's when I started to learn about the history of theater.

I went to a college in New York called New Paltz. I studied theater there for four years. I also studied privately in NYC with a teacher named Robert X. Modica.

I was raised in New York City and raised in the New York City theater world. My father was a theater director and an acting teacher, and it was not uncommon for me to have long discussions about the method and what the various different processes were to finding a character and exploring character and realizing that character.

I decided at age 9, but I was reinforced at age 13 when a teacher told me I had talent. I can't say she really motivated me because I already knew. I knew I had talent. I went to the Jewish community theater and got in plays there. Then I went for the movies.'

I was 20 years old, working as a roofer and a telemarketer and driving a taxi, just barely getting by. A friend of a friend suggested I try acting. I was like, 'Why? What am I going to do? Community theater?' But I took a class, and the teacher thought that I had potential, so I moved to Vancouver and started auditioning.

Encouragement from my high school teacher Patty Hart said 'you need to focus and theater might be your route out of here.' I created the program, went to college and graduate school and now here I am.

My deep dark secret is that I was a nerd in school. I liked the theater. I liked to study. I wasn't very good at sports.

I was a huge theater geek growing up, and that was not the easiest thing in the world, especially growing up in Chicago, where sports are really the norm. I was always off to the theater at night, from 7 years old on. Friends there in the Midwest who could talk to you about the idiosyncrasies of 'Pippin' were few and far between.

Boxing has become America's tragic theater.

Theater is a space where you cross over from everyday life, because there are real people in that moment moving in front of you - you're being invited to believe in a story and cross that bridge.

To me, a theater is a kind of a sacred space. It needs a kind of ceremony, like what happens when you consecrate a church.

The feature space is a spectacle space. It's about getting people out of their houses to go to theater when we all have a lot of things in our home now that occupy our attention.

I smile so much at the theater my face hurts when I leave.

At one time, you could sit on the Rue de la Paix in Paris or at the Habima Theater in Tel Aviv or in Medina and you could see a person come in, black, white, it didn't matter. You said, 'That's an American' because there's a readiness to smile and to talk to people.