My mother gave me singing lessons; that was totally painful, because I couldn't do what she wanted to hear. She used to say: there's more there, there's more voice but I just didn't want to give it to her.
Once you have the pattern of life of this person, the choreography, so to speak, you have the canvas that you present eight times a week, not without feeling underneath it, but it's not as churning as the discovery process was.
Making a film of a work you've played for six weeks gives you intimate knowledge of the character. By the time you go in front of the camera you've worked out the behavior and life of a character.
Rose was sexy. It was my fantasy about her. She accomplished so much and came from so little in terms of a background that would have prepared her for the world, let alone the world of entertainment.
We give you this story. It is for the audience to be moved and gut wrenched, not us. It isn't as if we don't go through those real feeling and it isn't as if I don't cry three or four times a night. I usually do.
We do a lot of shows for young people who have probably never been to the theater before and they are learning about the Holocaust, which unhappily, many of them do not know about.
The story about me, apocryphal or not, is that I could sing before I spoke. My parents went into bedroom one day and there I was standing in the crib singing God Bless America.
The play is one of the very few pieces of great dramatic and comic writing that I have read in a long, long time. I was drawn to it because of the power of the writing, which gives me the actor a chance to explore many facets of myself.
So I majored in Drama, did all the plays that were possible to do, skated through school in order to be in every production on stage or backstage in whatever capacity and I came to New York looking for work in the summers.
I'd forget the piece just before I went out to do the concerto, the panic was too great. This was not anything that gave me pleasure. This was fulfilling somebody else's dream.
