I'd been out of the movies for years, I had had a wonderful stage career, yes, in musicals and so on, but you don't really make any money in the theater.
I'm the bionic woman. I have a very strong constitution, and I take excruciatingly good care of myself.
I honestly feel that "Murder, She Wrote" stands alone, as many of the other great shows of the past 35, 40 years do. It stands alone, and it's still on. It's still all over the world, "Murder, She Wrote," Jessica Fletcher and "Murder, She Wrote."
I can't say that I deserve longlife; I don't. I've just been around long enough. They say, "My God, she's still here."
I just went along for the ride. It was a God-given gift. It is. So you can't say well, you wasted your life because you spent all of it acting, but I think gosh, I've never been to China, I've never been to Japan. I've never been to Yellowstone Park.
I honestly consider that the greatest gift to me, is the reaction that I get from my work. That is a given which I never, ever take for granted. But to be given that by audiences, individuals, on the street, in the theater, is an extraordinary feeling.
I can't say that I pursued a career. I really didn't, it just sort of happened.
I very seldom said no, and I was aided and abetted by my husband, who realized that the one thing I could do was to be a very good actress, by his note.
Psychologically, you learn the values that are inherent in the dialogue, and you learn to apply it to the way you read the lines. That's acting. You're not yourself saying those lines, you're somebody else.
The older I get, the more I realize how much I have missed because I was so busy entertaining that audience and so busy pursuing a career.
I'm Angie to everybody, you've got to learn.
You learn the values that are inherent in the scene that the writer has written. You learn about who you as a character are in relation to those others who are working with you within that scene.
I usually arrive at the first rehearsal with a vague memory of most of it. But the real work happens in rehearsal, oddly enough, because what happens is that you match the words to the movement, and once you know where you're moving, then the words that accompany that movement become not locked into your mind and your brain and your whole body.
It's better not to try to learn all the lines by rote. It's a very bad idea, in fact. You have to do it by using the process, and as I say, the process is to learn during rehearsals, and that's how you'll do it.
I haven't been back to London for 40 years to do a play, so to play Madame Arcati there, she would be tickled to death knowing that that was what I was doing. I hope she would. She was a wonderfully unique and very special, very darling woman.
They're great devotees of Noel Coward in England, of course, he's a favorite son, and so to play Coward in London is such fun, and anyway, the role is such a crazy lady. I just love doing that.
I played the Piccadilly Theater with "Gypsy" and also the Old Vic, and I've done other shows in London, but not for 40 years.
My memory about names and places now is dreadful. But lines, I can remember.
Now the Gielgud Theater is a very famous old theater, because it was originally called the Globe, and the Globe is where my mother made her very first professional appearance in London, was at the Globe Theater.
My mother was one of the most beautiful women, I have to say, of her generation. She was absolutely lovely. She was a very, extremely sensitive, Irish actress. She came from Belfast, Northern Ireland, and she came to London, and she was sort of discovered by several people.
The thing I always say is that I wasn't going out reaching for roles, I wasn't fighting for roles - people came to me. They always came to me.
Roles came to me. I was very, very lucky in that respect. Great directors, great writers, great producers - they saw something in me that they wanted for their picture or their play or whatever it was, whether it was Edward Albee or whether it was - or Peter Hall, directors. They would come to me, thank God. I was lucky. Lucky, lucky, lucky.
I don't care whether it's a chance meeting or playing a role that you thought was totally wrong but you did it anyway. It will often turn out to be the thing that will lead you to the role which is sublime.
You just have to be open and ready, and let it all happen.
Everything I did actually helped to build the revenue, shall we say, of experience, which enabled me to play a variety of roles as I got older.
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