More young people need to come to the theatre in general.
I used to entertain myself - I taught myself to use stilts and juggle and ride a unicycle. But I was never immediately interested in theatre.
I'm trying to make it a little bit more personal this time. All my shows are hodge-podges, and this one is no exception but this one delves a little more deeper into my life and my world. Hopefully it's funny. I did a version of this at Birdland last January and it's similar-ish to what I've done before. But I've been working on it all year; I did it out here in Los Angeles in a theatre and kept developing it. Hopefully it'll be better.
I'm a prostitute. Do you know what, it really is basically I just really like to work! I'm thrilled that there's a variety. It's why I got into this business to begin with, because I really don't have the discipline or intellect to have a 9-to-5 job. But I came from a classical music background and I merged that to theatre, it kind of opened up the door to a lot of different possibilities.
But the stuff that I do is more like all the comic roles like in The Merry Widow and Die Fledermaus and I just did this Offenbach operetta at the LA Opera. I love it. I just love it. For me, it's like a great mesh of musical theatre and my classical oboe background to be standing on these huge stages with a full orchestra and all the opulence. I'm a complete sucker for the over-the-topness.
That's opera! I just love it. It just thrills me! And it's very different than theatre, and sometimes it can be frustrating because when you come in the first day of rehearsals obviously you're an opera fan, right?
When I was a little younger, I really did love musical theatre in the same hopeless dorky way that she does. I was obsessed with Jesus Christ Superstar and I used to reenact it in my room when no one was home.
My parents say it all began with my role of Percy the Polar Bear back in nursery school! I began dance classes at the age of five (you would never guess though) and then I went on to join my local theatre group, Glantawe Players, at the age of eight and then Swansea Amateur Dramatics Society. I then joined the National Youth Music Theatre, so I really can't remember a time when I wasn't interested in Musical Theatre!
To perform at the Cardiff Millennium Centre was amazing in itself - the theatre is an incredible venue and it was great to be performing so close to home. For me the best experience was in Glasgow, where I got to play Dee Dee for two weeks! The audience sang along to every song with such enthusiasm you actually couldn't hear yourself singing! That was incredible!
Too often in the theatre people can't wait for intermission to get some chocolate or something. But with Come Back, Little Sheba I just hope people leave feeling like they've spent a really good two-hours in that house with us.
I want to get a handle on the music. There's only so much you can do alone. I want everyone else there. I can't wait until we feel we've got it down and we can really figure out what it's all about! I can't wait to meet Harvey Keitel, too! I'm so used to working with musical theatre people... I'm really curious how he works. He's the only one that doesn't sing in the show - he acts and weaves himself through the show as the ring-master. I hope I learn something from him.
I find it difficult to fully enjoy musical theatre songs if I don't know the storyline of the show they are from as well as the context.
Frankly I don't listen to lyrics (a problem in that I apparently work in musical theatre) I just want a good tune that doesn't require the use of too much grey matter.
There is nothing wrong with loving musical theatre, but I think that it's naive to hold it superior any other musical classification, especially since these other genres have been influencing Broadway more and more in recent decades.
Even though I had a great deal of respect for children's TV and theatre, it wasn't my intent to specialize solely in that area. I did indeed want to work on shows like "Sesame Street" and I am honored to be even a small part of that legacy, but I also wanted to do characters that had wider vocabulary and satirical humor.
Basically I was a theatre fanatic. I had a job with Home Box Office as a theatre consultant for a long time.
What was good was that I had friends who were actors and in theatre who were really good, because I think my strengths were visual, like pictorial.
I hadn't studied theatre and I hadn't studied actor training or anything, but I did have a sense of movement and composition, and what the final product would be like, but luckily I had friends who were good actors, who would help me get them, who would get themselves to the place where a good director should get them to build characters.
I initially told people I wanted to be a dancer and ultimately a "Rockette." I didn't really know what a musical theatre performer was other than the Shirley Temple type.
I have always been interested in theatre and after reading the script for THE INFLICTION OF CRUELTY, I thought that being part of this show and the Fringe would be a great experience.
I was interested in the ways that artists responded to totalitarianism - the Czech Jazz Section, Romanian absurdist theatre, Brecht's alienation effect. The anything-goes, anarchic qualities of jazz and Surrealism seemed to offer a way to cross some of the forbidden frontiers of Eastern Europe.
Growing up in Malaysia and England, there wasn't an obvious route into the comics world, so my creative energy went into theatre and prose and then movies and TV.
I started out in theatre and I definitely have wanted to add extra musical elements to my music with both imagery and text.
I played Thersites and I remember we were also doing some places out of town before starting our run at The Old Vic in London and we were at the Yvonne Arnaud Theatre in Guildford and I walked on stage and I've got an opening speech that begins: "Agamemnon, how if he had boils?" And I went on and said: "Agamemnon..." And a woman in the front row just went 'tut'. I thought: "I've only done four syllables, give us a chance!" I got one word out and the audience were already tutting. It was worse than any heckle I ever had doing comedy. So, I'll stick to gnomes.
I married him [Chris Sarandon] my senior year, and after I graduated, he went to the Long Wharf Theatre in New Haven, and I tagged along and was doing some local modeling and commercials and things like that. A woman named Jane Oliver, who handled Sylvester Stallone, saw Chris at the theater and asked him to come in and audition. We went in and auditioned - he needed someone to read with him. I read with him, and she said, "Well, why don't both of you come back in the fall."
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