I'm the bionic woman. I have a very strong constitution, and I take excruciatingly good care of myself.

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.

Psychologically, you learn the values that are inherent in the dialogue, and you learn to apply it to the way you read the lines. That's acting. You're not yourself saying those lines, you're somebody else.

I played the Piccadilly Theater with "Gypsy" and also the Old Vic, and I've done other shows in London, but not for 40 years.

I honestly feel that "Murder, She Wrote" stands alone, as many of the other great shows of the past 35, 40 years do. It stands alone, and it's still on. It's still all over the world, "Murder, She Wrote," Jessica Fletcher and "Murder, She Wrote."

They're great devotees of Noel Coward in England, of course, he's a favorite son, and so to play Coward in London is such fun, and anyway, the role is such a crazy lady. I just love doing that.

Actors are not made, they are born.