A Quote by John Guare
To stay around any place you love, you have to have a job. In college at Georgetown in the fifties, I got my first theater job checking coats at the National, which was Washington's main theater.
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I was interning at a children's theater group in Kentucky - that was my first job out of college. I had jumped around a couple of regional theaters, and I was about to go back to Maine to work at a summer Shakespeare theater there. I didn't want to just jump around the country from gig to gig. I really wanted to go to a city and get involved in a theater scene and a theater community.
I find theater terrifying. There are no do-overs, you know? It's all happening live. You need to be in it 100 percent at any given moment, and the audience is right there. I'm really intimidated by theater, but it is my first true love. I love theater. I love that anxiety.
I started doing regional theater. My first job was 'The Importance of Being Earnest' at Dallas Theater Center.
I started doing regional theater. My first job was "The Importance of Being Earnest" at Dallas Theater Center.
I was studying theater management, business stuff. About that time, I realized I really didn't like that, and it threw me into a panic attack a little bit. I was under the assumption that the first job you get out of college is the job you have for the rest of your life.
My first paying job was a in a production of Neil LaBute's 'Bash: Latter Day Plays' at the Union Street theater in Borough. I played the 'Medea Redux' character. That was my first job out of drama school. I can't remember how much I got paid. I'm sure it was pennies.
For me, it was a lot of hard work doing theater eight nights a week around the country, going from job to job.
I was inspired to become an actor from theater I'd seen, so I assumed I'd do a lot of theater. But when I left Guidhall, the first thing I did was a short film - I played the main character. And I loved it. I love working on camera. I love the smallness of it and the detail and the routine of it.
The thing is this: I've got an amazing career in England that couldn't possibly get much better. I do the best theater around, I work at the National Theater, the Old Vic - which I'm sure you've heard of because it's the one Kevin Spacey runs - and I play the most amazing roles and work with the most amazing directors.
When I was in college, I was in the theater department, which for anyone who has been involved in any kind of theater program, you know that it's really wacky and tight-knit, a real family. Me and my good friends from college would do random shows and plays that were sometimes serious, but most of the time really goofy and funny.
In a world where you graduate with a theater degree from college, you gotta find your bread job. You gotta find that job to pay the bills.
My first time acting for camera really was for Steven Spielberg in War Horse. I was trained in theater and I was actually working in theater at the time. I had a small role with the Royal Shakespeare Company, which is a huge prestigious theater company back in England. I honestly thought that was as good as it got.
I was preparing myself for the theater, and... I got a little job here and a job there, but it wasn't going well, and I considered some time before the mid-60s that maybe I should consider something else.
I majored in theater in college. I did a couple of plays in high school, and I really enjoyed it, so I went to Illinois Wesleyan University and got a degree, and then I went back to Chicago and started doing theater in all the companies around the city for about 11 years before I moved out to L.A.
When I was around 13 or 14, there were visits to the theater, which really ignited my passion. Going to see live theater is when I properly got the bug and hoped I'd be able to do it for a living one day.
From the time I was five years old, theater was all I knew. I did community theater; I went to theater school. It's like going to the gym as an actor: every single night, you have to recreate the illusion of the first time, so you really have to listen and connect and stay in the moment for an hour and a half - with no breaks.
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