You just have to be open and ready, and let it all happen.

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'd been out of the movies for years, I had had a wonderful stage career, yes, in musicals and so on, but you don't really make any money in the theater.

Now the Gielgud Theater is a very famous old theater, because it was originally called the Globe, and the Globe is where my mother made her very first professional appearance in London, was at the Globe Theater.

I usually arrive at the first rehearsal with a vague memory of most of it. But the real work happens in rehearsal, oddly enough, because what happens is that you match the words to the movement, and once you know where you're moving, then the words that accompany that movement become not locked into your mind and your brain and your whole body.

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.

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.