Stage
| Production | Character | Director | Company | Awards |
|---|---|---|---|---|
| Brighton Beach Memoirs | Stan | Rita Tieghe | Andrew's Lane, Dublin | |
| Six Characters in Search of an Author | The Son | John Crowley | Abbey Theatre | |
| The Marriage of Figaro | Cherubim | Brian Brady | Abbey Theatre | |
| A Woman of No Importance | Gerald Arbuthnot | Ben Barnes | Abbey Theatre | |
| Lonesome West | Welsh | Gary Hines | Druid Theatre Co. | |
| Long Day's Journey into Night | Edmund | Karel Reisz | The Gate, Dublin | |
| Dublin Carol | Mark | Ian Rickson | Old Vic/Royal Court | |
| The Secret Fall of Constance Wilde | Lord Alfred Douglas | Patrick Mason | Abbey Theatre/Barbican, RSC | |
| The Coming World | Ed/Ty | Mark Brickman | Soho Theatre | |
| Crave | B | Vicky Featherstone | Royal Court | |
| Original Sin | Angel | Peter Gill | Sheffield Crucible | |
| Playing the Victim | Valya | Richard Wilson | Told by an Idiot | |
| The Cavalcaders | Rory | Robin Lefevre | Tricycle Theatre | |
| A Girl in a Car With a Man | Alex | Joe Hill-Gibbins | Royal Court | Laurence Olivier Award for Outstanding Achievement in an Affiliate Theatre |
| Aristocrats | Casimir | Tom Cairns | National Theatre | |
| Dying City | Craig/Peter | James McDonald | Royal Court | |
| The Vertical Hour | Sam Mendes | The Music Box, NY | Nominated - Drama League Award | |
| Sea Wall | George Perrin | The Bush Theatre | ||
| Roaring Trade | Roxana Silbert | Soho Theatre | ||
| Cock | M | James McDonald | Royal Court | Laurence Olivier Award for Outstanding Achievement in an Affiliate Theatre |
| Design for Living | Leo | Anthony Page | Old Vic | |
| Emperor and Galilean | Julian | Jonathan Kent | Royal National Theatre |
Read more about this topic: Andrew Scott (actor)
Famous quotes containing the word stage:
“A method of child-rearing is not—or should not be—a whim, a fashion or a shibboleth. It should derive from an understanding of the developing child, of his physical and mental equipment at any given stage, and, therefore, his readiness at any given stage to adapt, to learn, to regulate his behavior according to parental expectations.”
—Selma H. Fraiberg (20th century)
“We must be willing to change chairs if we want to grow. There is no permanent compatibility between a chair and a person. And there is no one right chair. What is right at one stage may be restricting at another or too soft. During the passage from one stage to another, we will be between two chairs. Wobbling no doubt, but developing.”
—Gail Sheehy (20th century)
“It is a mass language only in the same sense that its baseball slang is born of baseball players. That is, it is a language which is being molded by writers to do delicate things and yet be within the grasp of superficially educated people. It is not a natural growth, much as its proletarian writers would like to think so. But compared with it at its best, English has reached the Alexandrian stage of formalism and decay.”
—Raymond Chandler (1888–1959)