I'm kind of a reluctant Anglophile. My mother's a children's librarian, and all of the children's literature I read was from her childhood - E. Nesbit and Dickens, which isn't children's literature at all, but I was sort of steeped in English literature. I thought I was of that world.
There was a lot of playing by myself, wearing last year's Halloween costume and wandering around the yard talking to myself - which may account for my fondness for doing different voices.
The beauty of performance for me is finding details with which to betray character.
Some actors start with the right shoes. I start with the right hats.
A musical sweeps you along, like you're on a magic carpet ride of sorts. But you have to keep up.
I don't know what we did without Velcro in the American theater. It's a miracle substance! People had long intermissions, probably.
I love hats. I've always loved hats.
I try to inhabit each of the characters as fully as I can, however short-lived they are. But most of my show happens offstage.
When I was younger - I don't do this too much now - but sometimes if I couldn't sleep, I would lie in bed and imagine all the characters I've played at a dinner table together.
I always dress up for recordings.
I was offered jobs impersonating everyone from Cher to Madonna.
My mother was a children's librarian, and I was raised on lots of English children's literature. It gave me this weird idea that I was English.
I should be one of those actors who has a list. A lot of people do - 'I wanna do this and this and this' - but I don't. I enjoy being surprised - indeed, often ambushed - by a role.
You can really get your chops in shape in the resident theatres, and I urge anyone to investigate them and to be willing to go anywhere to pursue the great roles.
It's such a rare and rewarding thing to be in control of space and time for two hours a night, to go through a journey and take the audience along. There's nothing quite like it.
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