A Quote by Lloyd Dorfman
Individual and corporate support is vital to building on London's leadership in the arts, and I hope others will join me in wanting to build on the National's role at the heart of modern theatre and sustaining it long into the future.
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The new build will play a vital role in the £1billion regeneration project at Longbridge, providing a strong educational element to the employment led mixed-use development. In these trying and difficult times, it is vital that we invest in the future of our community, in the hope that they will continue to take this country from strength to strength.
When the National Theatre was built, it was a public building. If you wander round that building now, there are bits hived off for people who pay more money. That's happening across the arts.
I went to theatre school for four years and just wanted to do theatre. I had no ambition to be on TV or to be on camera. I just wanted to go to New York or London and be on stage... I did a lot of theatre in Montreal, got involved in TV in Toronto and then moved to L.A. I hope that film and TV will take me back to theatre.
I was at stage school in Birmingham Rep when I was called down to London for an audition in the National Theatre. Maximilian Schell, the film actor, was casting Tales from the Vienna Woods. He was looking at me for a small, but significant, role.
In Britain, the theatre has traditionally been where the public goes to think about its past and debate its future. The formation of the National Theatre, at the Old Vic, near the South Bank, in 1963, institutionalized the symbolic importance of drama by giving it both a building and state funding.
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!
I became an actor by doing school plays and youth theaters, and then National Youth Theatre of Great Britain. And then I did study at the London Academy of Music and Dramatic Arts. For me that was a good way to enter the field, to work in the theater.
Leadership is not so much about technique and methods as it is about opening the heart. Leadership is about inspiration-of oneself and of others. Great leadership is about human experiences, not processes. Leadership is not a formula or a program, it is a human activity that comes from the heart and considers the hearts of others. It is an attitude, not a routine.
Science, engineering, and technology have transformed the infrastructure of the modern world and have a vital role to play at the heart of policy making.
Key to success for the education of young African girls is building a model that works with communities, schools, and national Ministries of Education to build a system of protection and support around girls, ensuring that they receive the education that is their right. Financial support is provided alongside a social support system.
After a two-year stint at Cheek by Jowl theatre company in London, I put all my energies into breaking into New York's theatre scene. It took me eight years to build enough to play lead roles.
One measure of your success will be the degree to which you build up others who work with you. While building up others, you will build up yourself.
It's incredible how London-centric the theatre world is. Certain actors won't travel away from London anymore for work; practitioners often aren't taken seriously enough unless their work is seen in London; and it's sometimes very difficult to get national critics to review shows - especially if there's a clash with a London press night.
I've done a lot of costume drama and theatre - the National Theatre and In fact, most of my work at the theatre, at the National Theatre anyway, was period.
The rapidly evolving global economy demands a dynamic and creative workforce. The arts and its related businesses are responsible for billions of dollars in cultural exports for this country. It is imperative that we continue to support the arts and arts education both on the national and local levels. The strength of every democracy is measured by its commitment to the arts.
In the days ahead, I will propose more ways for more Americans to get involved in national service and give back to our communities, because every one of us has a role to play in building the future we want.
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