A Quote by Ted Lange

I've played almost every lead character from Henry VI to Othello. I'm dying to tackle Richard III sometime. — © Ted Lange
I've played almost every lead character from Henry VI to Othello. I'm dying to tackle Richard III sometime.
Francis Underwood was entirely based on Richard III. When Michael Dobbs wrote 'House of Cards' in the original British series, Richard III is what he based the character on.
I can always do theater; I can do Ibsen, I can do Macbeth, I can do Chekhov, I can do Moliere, Othello, I can do Richard III.
You get Don King's point of view in what is almost a Shakespearean, classical technique. He comes across almost like a lovable rogue, like Iago in 'Othello' or Richard III. He's doing all these bad things, but I kind of like him. It's like 'Pulp Fiction': Everybody's a bad guy, yet you like them.
A couple of clues came my way of what I might be getting myself into when I sat down with a number of actors who had played Richard III in the past. And I was hoping of course, that one of them or all of them were gonna give me the magic key, the secret way in to play Richard III but none of them did that.But every one of them did say the following, "Be careful."
Assure thee, if I do vow a friendship, I'll perform it to the last article." --Othello, Act III, Scene iii
There isn't a King Lear for women, or a Henry V, or a Richard III. You reach a level where you can handle that stuff technically and mentally, and it's not there.
Shakespeare villains were extraordinary. Macbeth, Iago, Richard III... They're so richly layered that a British actor would find it almost impossible to create a two-dimensional villain, if he's explored in his early years or continues to explore his Shakespearean heritage. You can almost not judge them, if they're played really well.
With Othello, Shakespeare posed this problem of a black man in a white society in the role that he's playing. And Shakespeare gave Othello such dignity - he came not from - as he said - not from hate but from honor, from a sense of his own human dignity. And to me, to my mind, there could be no greater character played.
There's posh character actors. For God's sake, Olivier was one of the greatest character actors in the world. Hamlet, Shylock, Othello - Othello! Whether you like it or not.
I went to a Jesuit school and they did a William Shakespeare play every year. I got to know Shakespeare as parts I wanted to play. I missed out on playing Ophelia - it was an all-boys school. The younger boys used to play the girls, I played Lady Anne in Richard III and Lady Macbeth, then Richard II and Malvolio. I just became a complete Shakespeare nut, really.
My role 14 years ago in Richard III - that was the first time I played a bad guy and learned a lot about it - they have all the fun!
My father used to act in high school. He was in a production of 'Othello;' I don't know who he played, but it wasn't Othello. He would talk about it, though, and read Shakespeare to me.
The 16th-century theatre witnessed the particularly English manifestation of 'the history play.' There can be no doubt that Shakespeare's presentations of 'Henry V' and 'Richard III' have been incalculably more influential than any more sober historical study.
Patrick Henry aligned himself against ratification. So did Richard Henry Lee.
Alright, let's tackle the worst part of this pandemic: people are dying, or they're worried about their loved ones dying - and it's hard not to spiral out. After almost two decades at war, this has been the reality for military families for a very long time. Welcome to our club.
The trap in Hamlet is he's the most passive of Shakespeare's characters. He's not a Richard III, not out there taking a lot of action. It's a lot of asides and soliloquies where he's wrapped in angst, and that's not a very interesting character.
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