I like a direct relationship between actor and audience.
As much as the mystery element is all a lot of fun, when you do go to 'Edwin Drood,' you're going to a theatre to see a show about going to a theatre and what that relationship between actors and audiences has been for years.
Having a live audience makes a world of difference to the acting. It keeps your timing sharp. When something doesn't work, the actor can sense the reaction from the audience and quickly move on.
I need to know who the audience are in any particular play. It's no good forgetting that they're there.
I had a feeling about Shakespeare's soliloquies, that there should be a real exchange between the actor and the audience.
Actors should be overheard, not listened to, and the audience is 50 percent of the performance.
There's a kind of dynamic quality about theater and that dynamic quality expresses itself in relation to, first of all, the environment in which it's being staged; then the audience, the nature of the audience, the quality of the audience.
If you're in a room and can be seen by actors, you need to understand that you can be felt by them.
There are some actors who come alive in front of a crowd, and if you've cast it right, there's an energy between cast and audience that can be exhilarating for both parties, then enjoyed by the audience at home.
The theater audience is the ultimate teacher, instructing the actor on the degree to which he has executed both the author's and the director's intent.
It's all good fun - television and movies and so on - but the good thing in theatre is there's nothing and no one between you and the audience so you can do what you want really.
I love the smaller scenes. I love the smaller, slightly more theatrical scenes.
I find it very funny as well as touching that people associate me with these characters I play and form a connect with them.
Now, when I started my theater, the modus operandi was having the actors stare right into the audience.
