Television theatre, as is implied in its name, should rely on adaptations of scripts written for the theatre.
At heart, this job is about continuing to make great theatre for the people of Sheffield – a city I’ve known and loved since childhood.
Well the least favourite question is the one that one’s asked particularly about in Japan is what’s the difference between theatre and cinema and I think, well, that’s about eighty bucks.
I had great faith in Irish actors, that they’d be hip to the whole theatre thing, and they are. I had no illusions of coming over here as some kind of big shot. It’s been a learning experience for me too.
I was supposed to go to drama school and then go to New York and do theatre. But I grew up on all those fabulous movies and had read all the bold Hollywood books, and I thought I just had to take a look.
When I play, I feel like I’m in a theatre, why should I look ugly then, because I’m a tennis-player?
I did a little theatre work after that and the following year I got another part in a television series. Then it was almost to the end of the year before I got more work. That was coming to terms with the reality of the vocation I had chosen.
On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.
There are all sorts of reasons why I don’t do much work in the theatre, the main one being that after two performances I feel I’ve given all I can. I hate repetition, I really do. It’s like asking a painter to paint he same picture every day of his life.
I think theatre helped, only because it was acting experience. I got to work with a lot of directors.
Soon I worked during twelve years in theater works of the prestigious Theatre National Populaire. It was the best time of my life, the most difficult, the most interesting, the most exciting.
On the last day of our five-day work week, we did two performances and we had an audience. It was similar to theatre; we went from beginning to end, and it was very pleasing.
I like going to New York. I like the galleries and the theatre and the restaurants and bars and music. I think that city is more alive than Los Angeles.
At the University of Maryland, my first year I started off planning to major in art because I was interested in theatre design, stage design or television design.
I’ve directed enough in the theatre and a couple of films to know that – to feel fairly secure that if I find a story that I really like I can probably get it done somewhat.
I met my wife Anne who was a sociology student, and her influence together with activities associated with the student movement of the time opened up my interests amongst other things into the theatre, art, music, politics and philosophy.
I am a theatre actor, but the last ten years I’ve taken parts in movies because it keeps me in money.
There’s something about doing theatre in London – it sinks a little bit deeper into your soul as an actor. It’s something about the tradition of theatre, about performing on the West End stage.
The theatre is supremely fitted to say: ‘Behold! These things are.’ Yet most dramatists employ it to say: ‘This moral truth can be learned from beholding this action.’
It must have been an extraordinary time. I guess the worrying thing about musical theatre to me, is if you look at the London season this year, mine is actually the only one to have come in.
Acting must be scaled down for the screen. A drawing room is a lot smaller than a theatre auditorium.
Yeah, well I’ve always played comedy. My background is musical comedy theatre and that’s really where my training is. As an actor, that’s my training.
It’s great to be in a film that’s able to have people really want to become socially conscious, to walk out of the theatre and want to do something.
But I think theatre in a repressive society is an immensely exciting event and theatre in a luxurious old, affluent old society like ours is an entertaining event.
If I’m in theatre, cinema doesn’t even cross my mind. Similarly when I’m making a film, theatre doesn’t cross my mind.
The deaf community is in a favorable position because they have a national theatre and training groups of their own to get them started. Deaf actors have often acquired very valuable skills and experience before they get their break.
I did a play called Throne of Straw when I was 11, at the Odyssey Theatre in Los Angeles. It became really clear to me at that point that I enjoyed acting more than any other experience I was having.
I have ambitions to do a Broadway record one of these days and get in the studio with like, a real orchestra. I’m a big musical theatre geek.
I went to the Glasgow Youth Theatre and they just let me in. But I was so shy that I was there for about six weeks without actually introducing myself.
I get bored at the theatre a lot because I notice that there’s not always a connection between the actors. They may be technically proficient, but they’re not surprising each other. I’m thrilled by actors who make choices that are surprising.
From there, I tried out for a community theatre play, joined an improv group… it all started opening up.