In the commercial theater, I've been pretty fortunate. The producers that I've worked with have allowed me to define the artistic integrity, the artistic limits of the work.

In the commercial theater, I've been pretty fortunate. The producers that I've worked with have allowed me to define the artistic integrity, the artistic limits of the work.

When I was 13 years old, a professional theater company in my town needed a kid actor. I auditioned, and I got the part, so for just a few weeks I became a member of the company and I met some professional actors.

Soundbite and slogan, strapline and headline, at every turn we meet hyperbole. The soaring inflation of the English language is more urgently in need of control than the economic variety.

I had a feeling about Shakespeare's soliloquies, that there should be a real exchange between the actor and the audience.

The first big break was winning a scholarship to go to Cambridge University. I was very lucky, because my parents couldn't have afforded a university education for me. Without a scholarship I couldn't possibly have gone.

I always believe it's better to have 30 imaginations working on a project, rather than one imagination telling the other 29 what to do.