A Quote by Kevin Spacey
When I look around at Broadway and the West End, theatre is becoming an exclusive club.
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No, I've never moved on with a play. I did the original 'Closer' in London but didn't transfer to the West End or Broadway with it. The same is true of 'Iceman': I didn't go to the Old Vic or Broadway with that. I don't know; I feel an allegiance often to the play where you do it first, in the theatre that it's in; you do it for that space.
I've been asked a lot why didn't 'Ruined' go to Broadway. It was the most successful play that Manhattan Theatre Club has ever had in that particular space, and yet we couldn't find a home on Broadway.
I take great pride in recalling that I could open in a play on Broadway or in London's West End and fill a theatre on the strength of my name - Steed's name.
I'm definitely nervous and excited. I feel like I've been playing off-Broadway, not to say that Boston doesn't have a great theatre district or great theatre, but it's not going to Broadway; it's just a different city.
Broadway has a lot more razzle-dazzle than the West End. In terms of the everyday work routine, it's not different, but there's a cachet about Broadway that lends itself to more anticipation among audiences.
In 1973, 'Sizwe Banzi is Dead' and 'The Island,' which I co-wrote with Athol Fugard and Winston Ntshona, transferred from The Royal Court Theatre to the Ambassadors Theatre in the West End.
I started in theatre when I was 13 or 14 years old and did a lot of theatre until my early thirties. Off-Broadway stuff - off-off-off-off-Broadway stuff - and I do love it.
'Blackbird' is the only one I've ever wanted to redo. It just haunted me, this play. There was a sense of unfinished business because at the time we did it at Manhattan Theatre Club, there was real momentum to move it to Broadway.
I wanted to be a therapist if the acting didn't work. I also did a lot waitressing and odd jobs. I'd audition but couldn't get hired to save my life. I'd do Off-Broadway theatre and that was great and I was excited and thrilled, feeling like, 'Well, it's Off-Broadway, but there's still the Broadway in there.'
Getting the call to be in The Goblet of Fire was like being welcomed into the most exclusive upper circle of some elite actors' club. You sit on set with the cream of the National Theatre and the RSC, all clutching wands or wearing witches' hats.
[After her election to the British Parliament and being welcomed to 'the most exclusive men's club in Europe':] It won't be exclusive long. When I came in, I left the door wide open!
King Khan and the Shrines may look and sound bizarre, but don't feel left out; it's not an exclusive club.
There's something about doing theatre in London - it sinks a little bit deeper into your soul as an actor. It's something about the tradition of theatre, about performing on the West End stage.
As I look around the West End these days, it seems to me that outside every thin girl is a fat man, trying to get in.
I have theatre-training, I love doing theatre, I've done Broadway.
Christopher Walken was probably the most experienced dancing partner I've had in movies, because he has the same background as I do. He's from theatre, Broadway and off-Broadway, and we both shared that.
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