A Quote by June Brown

My thirties were ruined by being pregnant. I loved my babies but I had been quite successful before I had them, playing Lady Macbeth and Hedda Gabler, one of my favourite roles.
If you're a woman doing classic theater, the big roles are often destroyers. I've played Hedda Gabler, Lady Macbeth, some of the Chekhovian heroines, Electra, Phaedra - they're all powerful women, but they're forces of negativity.
'Beauty Queen' is the weirdest, strangest, and most perfect play to do before 'Hedda Gabler', because there are so many similar issues for Maureen and Hedda. I had played leading ladies before but couldn't really hook into them. After 'An American Daughter' and 'Beauty Queen', I had all the ballast.
Beauty Queen' is the weirdest, strangest, and most perfect play to do before 'Hedda Gabler', because there are so many similar issues for Maureen and Hedda. I had played leading ladies before but couldn't really hook into them. After 'An American Daughter' and 'Beauty Queen', I had all the ballast.
My wide eyes make me look much younger without make-up, and although it's fun to have a line in innocence corrupted, I doubt I'll get to play the vampy vixen or a Hedda Gabler or Lady Macbeth.
I remember thinking, when I was playing Hedda Gabler, that several sequences of the play were utterly absurd.
I had been playing really interesting roles before I got great roles. Little ones - 'The Crying Game' I loved working on, and then 'Bird,' 'Ghost Dog,' so many films.
Ideally, I would like to play roles in as many classics as possible: 'Rebecca,' 'Hedda Gabler.' I'm fond of a corset.
It was an odd coincidence that my career took off the same decade as having babies. I often wished it had been different, that I had my big career bump in my thirties and my babies in my forties or vice versa.
Most women would say they relate to 'Hedda Gabler' - there's a part of her in them. Ibsen was writing about a deep ambivalence that many women feel about domesticity. I think about myself and friends of mine - we have some of Hedda's qualities and traits.
She'd always known he loved her, it had been the one certainty above all others that had never changed, but she had never said the words aloud and she had never meant them quite this way before. She had said it to him, and she hardly knew what she had meant. They were terrifying words, words to encompass a world.
When I saw 'Legally Blonde' on Broadway, I rang my agent and said 'I want to be seen for this,' but the rest weren't big choices, really. 'Hedda Gabler' was a phone call offering it to me, and as I've said before quite embarrassingly, I didn't know the play, so I didn't sit there thinking 'I would now like to tackle Ibsen.'
My dear friend, do not imagine that I am vain enough to ascribe our success [Revolution] to any superiority . . . If it had not been for the justice of our cause, and the consequent interposition of Providence, in which we had faith, we must have been ruined. If I had ever before been an atheist, I should now have been convinced of the being and government of a Deity!
The first time I saw 'Macbeth' was not the entire play. It was at acting school, and this student was working on Lady Macbeth's soliloquy. I felt something very special, and I knew then that I would one day experience Lady Macbeth, but I always thought it would be on stage and in French.
There are so many huge roles in the theatre: if you've got the option to play Hedda Gabler on stage, why wouldn't you choose that over a three-line part in a Hollywood film as somebody's maid or somebody's wife or somebody's best friend?
I never thought about writing. I was married young, I was still in college, as we did then, and I had two babies before I was 25, and I loved them, and I loved taking care of them, but I was a little bit cuckoo, staying at home and not having a creative outlet.
I had been playing with my local band, Skinny Cat. I had been to quite a few auditions before UFO, managed to get the gig and then not want to do it!
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