A Quote by Ken Ludwig
Shakespeare is God, of course. I have studied his plays for the vast majority of my sentient life. When I was a kid, my parents found an old copy of the LP recording of Richard Burton in John Gielgud's Broadway production of Hamlet and they gave it to me for my birthday. I listened to it till the grooves wore thin and I was off and running.
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I saw Derek Jacobi play Hamlet when I was 17, and he directed me as Hamlet when I was 27, and I directed him as Claudius in 'Hamlet' when I was 35, and I'm hoping we meet again in some other production of Hamlet before we both toddle off.
Programmed by quanta, physics gave rise first to chemistry and then to life; programmed by mutations and recombination, life gave rise to Shakespeare; programmed by experience and imagination, Shakespeare gave rise to Hamlet.
When I was prepping for my Broadway debut as Romeo, it really hit me that I had never done that. I had trained at drama school for three years in my late teens to early 20s, and I'd studied Shakespeare, of course, but I hadn't actually performed it. So to do something like Romeo for my first Broadway role was a challenge.
I like to be busy. I once shared an agent with the late Sir John Gielgud, who, at 96, was apparently still ringing up, saying, 'Hello, Gielgud here, any work?' Good on him. We've got to keep working. If we retire, there'll be nobody to play the old wrinklies, and that would be a dreadful shame.
The thing that I had saved up for myself and wanted most to bring off was a fully fledged professional production of Hamlet at the Royal Shakespeare Theater in Stratford.
If you don't go to Broadway, you're a fool. On Broadway, off Broadway, above Broadway, below Broadway, go! Don't tell me there isn't something wonderful playing. If I'm home in New York at night, I'm either at a Broadway or an Off Broadway show. We're in the theater capital of the world, and if you don't get it, you're an idiot.
After I left Yale, we were all doing these mad plays off - off Broadway. And I got back to that feeling I had from college, of everyone making up in front of one cracked mirror, which is what I loved - the scrappy theater idea. I think off-off Broadway healed me, made me an actor again, and I was in so many different crazy shows.
Every actor tries to come to Broadway be it Richard Burton, Marlon Brando or Liz Taylor or Shirley McClain.
The problem with the Jude Law "Hamlet" was simply that it wasn't unpredictable, that it was a very down-the-center modern production. You wouldn't go to the theater expecting to see an old-fashioned "Hamlet" where everybody wears an old fashioned costume. You don't get points for putting on a "Hamlet" where everybody dresses in black. I've seen that one several times. But again, it's not that it has to be new, it simply that it has to be different, fresh, that it doesn't bore, that it doesn't make me - I don't feel as I'm watching it that I know where it's going to go.
I met Richard Burton, an RAF cadet on a two-term course. I would have flirted more enthusiastically if it had not been for the horrid boils on the back of his neck.
But as I grew up as a child, falling in love with the theater and Shakespeare, my heroes were Sir Laurence Olivier and Sir John Gielgud.
For Tim Burton's birthday I gave him a rainbow beetle. He loved it!
My first record I ever got was 'Full Moon Fever.' My dad gave me a copy when I was maybe nine years old or something. And I listened to the heck out of that record. I loved that record.
I changed my major to English and I went off to Fort Collins. And within the first couple of weeks, I noticed that they were having auditions for a production in their theater department. They were going to stage Jean Anouilh's Becket, which was a film I loved, with Peter O'Toole and Richard Burton. So I went down and auditioned, and I got the role. I got the Peter O'Toole part. So here I was, a 19-year-old playing King Henry.
I wore out the Broadway 'Tommy' recording. I just loved it.
Al-Hallaj has a special destiny. He came at a time when worldliness, the luxury, were inundating the Islamic world. His function was to act as kind of an antithesis to this, and he paid for it with his life, and he was very happy to do so. He smiled as he went to the executioner. That was done because it shook the conscience of the Islamic peoples of that time. But the vast majority, the vast, vast, vast majority of Sufis, they have not met the destiny of al-Hallaj. They have spoken about reaching "the Truth" and there is nothing dangerous about it.
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