When you have an acoustic bass in the ensemble it really changes the dynamic of the record because it kind of forces everybody to play with a greater degree of sensitivity and nuance because it just has a different kind of tone and spectrum than the electric bass.
The difference of great players is at a certain point in a match they raise their level of play and maintain it. Lesser players play great for a set, but then less.
The players never think they project enough. In a hall that seats 3,300 people, it's a very scary thing to play so quietly that you can barely hear yourself.
I just did a play in New York which has been my best experience that I've had for maybe ever. It was Paul Weitz's play called Privilege and I was in New York for three months.
I've had a pilot every single year that didn't sell for the past four years, that'll smack you in the back of the head. I had a really good one last year; I wouldn't have done the play in New York if I had gotten that one.
I played Mary Joe Fernandez in the semifinals. She was winning the first set. Second set was very close. I started to play this aggressive game. I think I surprised them.
Burleigh, absolutely; and a lot about Elizabeth. I mean I found when I play Henry V a lot of connections with the hidden history of the connection between Francis Bacon and Elizabeth.
