Unfortunately, because the theater is always a poor relation when it comes to making the nut, it's not easy to get the audience in to see a play, unless you have a name that is recognizable, that the audience wants to see and is prepared to pay the $125 to see.

I honestly consider that the greatest gift to me, is the reaction that I get from my work. That is a given which I never, ever take for granted. But to be given that by audiences, individuals, on the street, in the theater, is an extraordinary feeling.

Well oddly enough, I liken the years at MGM, and I was there for about eight years, to doing stock, what we used to call repertory or stock, playing a whole bunch of different roles.

... because lifestyles are changing constantly the rules of etiquette are changing too -- a little slower than lifestyles perhaps, but still changing.

I think of myself as a journeyman actress. I will attempt almost anything that I think that I can bring off. It could be almost anything.

My memory about names and places now is dreadful. But lines, I can remember.

It's better not to try to learn all the lines by rote. It's a very bad idea, in fact. You have to do it by using the process, and as I say, the process is to learn during rehearsals, and that's how you'll do it.