For some reason, I always get offered plays when I'm doing plays and then, if I stop doing them, people stop asking me.
I won't say I've closed the door on acting.
I'm obsessed with 'Hamilton.' I've seen it, like, three times, and if I could get a weekly pass, I would.
I've been in dance schools since I was four. I went to the Brit school. I did adverts and plays.
A lot of people now don't know I've been on Broadway.
Musically, I'm a huge fan of Stephen Sondheim, and I love, love 'Sweeney Todd.'
I remember telling the agent, 'I don't want to do anything but Broadway.' She was like, 'That's not really possible because there is not that much Broadway. So I'll send you out on TV and stuff like that.'
Well, I was getting a lot of money then, and I wasn't getting any Hollywood films, so I just did those. I'd always do a play in between. Whenever I ran low on funds, I'd always rush off to do a movie somewhere.
I wrote 'The Room', 'The Birthday Party', and 'The Dumb Waiter' in 1957, I was acting all the time in a repertory company, doing all kinds of jobs, traveling to Bournemouth and Torquay and Birmingham.
The Old Vic has always been first and foremost an actors' theatre, a home for great talent and memorable performances.
I was always a big fan of 'Pippin' and 'Godspell,' even before I heard 'Meadowlark.'
That's what I think musicals will come to. No backstage stories, nothing of that sort.
My very first acting job was with Alan Parker on' Angela's Ashes,' but as a child, I had written to so many other productions just applying for any role. I always wanted to be an actress, and I did loads of acting summer schools.
Broadway has been my dream since I was 5 years old.
I was pretty new to the Broadway world once I began working in it. I hadn't really grown up being too aware of that many shows or that many actors in shows. I was always obsessed with Judy Garland, though.
We didn't have a lot of live theater in Oklahoma. I didn't visit New York when I was growing up. I watched movie musicals, and I believed in an idealistic, idyllic version of Broadway.
I get a little Verlaine for Patsy with drawings by Bonnard although I do think of Hesiod, trans. Richmond Lattimore or Brendan Behan's new play or Le Balcon or Les Negres of Genet, but I don't, I stick with Verlaine after practically going to sleep with quandariness
The great thing about doing a series about the Broadway community is that the possibilities are endless.
I worked consistently on Broadway from when I was 8 years old through 'Spring Awakening,' which I left in 2008.
I remember seeing 'Hairspray' when I was 15, and it is such a luxury to be able to see a Broadway show, and it is so hard to do if you don't live in New York - plus, it can be expensive to go to the theatre all the time, too.
I realized I really enjoyed theatre, so I did shows up in Seattle like 'To Kill a Mockingbird' and 'Lost in Yonkers.'
I've been able to go on and have a successful career on Broadway and certainly the last five years in Las Vegas have been amazing.
In the life of any actor or actress, there is inevitably a time when they will be eligible to act in a Tom Stoppard play. He has written a lot, and they are revived often, and there are so many characters of different ages that it was more likely I'd end up in something of his than that I wouldn't.
When I was old enough to take myself into the city, in the 1970s, I really grew up on all the great Sondheim-Hal Prince shows.
Normally our season is seven weeks in the Drama Theatre and four weeks in the Opera Theater.
