GLENNE HEADLY

My son is 14, and I only have this time with him. True, it's not like before when I couldn't explain to a little boy why I can't read him his bedtime story six nights a week. And he's even said to me, 'Mom, if you want to do a show somewhere, you should go.'

I went to the library and found lots of material about this time, about the Freedom March and what was going on down there in 1964.

I hope people think about the way trials go today, with the justice system overwhelmed by cases.

Once we were a part of Equity, we were able to get a salary, and then because we were employing ourselves, we just made sure we were always working. We put in hours to get subscribers. We used to do little shows at rich peoples' houses to get them to give us money.

Scene study is isolated. I suppose it's interesting, but I don't think it really teaches you about a throughline. A throughline is something you feel when you do one scene followed by another followed by another.

Theatre requires devotion that is all-consuming. When we started out, we didn't mind working 12 hours a day. We didn't mind going endlessly over and over a scene to make it right. I was the company's costumer for the first few years, and I remember the budget for 'Balm in Gilead' was $150.

We are not living up to Thomas Jefferson's idea of what a trial by jury means.

Rhythm and timing are so important in comedic acting.

I had gone to the High School of the Performing Arts in New York City.

To me, a lot of what makes a good actor is not what a teacher tells you to do but how you respond when you're on your own.

I had gone to the High School of the Performing Arts in New York City.

To me, a lot of what makes a good actor is not what a teacher tells you to do but how you respond when you're on your own.

I think a lot of good actors - for instance, Gary Sinise - have no training. His training was really entirely on his feet. I suppose you have to have an instinct for it.

Scene study is isolated. I suppose it's interesting, but I don't think it really teaches you about a throughline. A throughline is something you feel when you do one scene followed by another followed by another.

I went to the library and found lots of material about this time, about the Freedom March and what was going on down there in 1964.

Rhythm and timing are so important in comedic acting.

Once we were a part of Equity, we were able to get a salary, and then because we were employing ourselves, we just made sure we were always working. We put in hours to get subscribers. We used to do little shows at rich peoples' houses to get them to give us money.

I hope people think about the way trials go today, with the justice system overwhelmed by cases.

When I left high school - I was younger than my classmates, just 17 - I knew I wanted to be an actress, but I thought, 'When I go to college, I'd rather study something else.'

Theatre requires devotion that is all-consuming. When we started out, we didn't mind working 12 hours a day. We didn't mind going endlessly over and over a scene to make it right. I was the company's costumer for the first few years, and I remember the budget for 'Balm in Gilead' was $150.

I was shocked when I would read a newspaper from that time, and the Freedom March wasn't even mentioned.

My son is 14, and I only have this time with him. True, it's not like before when I couldn't explain to a little boy why I can't read him his bedtime story six nights a week. And he's even said to me, 'Mom, if you want to do a show somewhere, you should go.'

We are not living up to Thomas Jefferson's idea of what a trial by jury means.