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The Broadway audiences are very vocal and seem very engaged. For certain shows, especially with a show like 'The Heiress,' the audience's reactions sound like 'The Jerry Springer Show' sometimes. That seems to be a very New York thing. Oh, there's also the entrance round of applause here, which we don't get too much in London.

Farce is a much-maligned form. It's easy to do badly, and therefore, audiences may have a negative feeling about it.

London audiences are tricky, too. They don't laugh as much as the Northern audiences because, and I hate to say this, they are a bit cleverer normally, and they are picking up on all the little details and listening more carefully.

The club shows are really intense and powerful, but for a shorter time, and the audiences are in close proximity than when I'm performing at The Palace Theatre.

'Mr Selfridge' is a lot more accessible than shows like 'Downton.' Everyone knows the store, but not everyone knows the story. Having this store as the backdrop with all of society working under one roof, I think it really captures people's imaginations.

I love the Broadway audiences, who relish live drama and don't hesitate to display their enthusiasm.

Many people mistakenly think of farce as broad low comedy. In fact, it's polished high comedy.

I always try to keep in mind that while the characters in a farce may find themselves in outrageous dilemmas, and may behave in a way that the audience finds amusing, the characters themselves don't have the consolation of knowing they're in a comedy.

What turns me on is to walk into a sold-out venue. The audiences are so much the same as they were in the '60s. It's just an amazing thing. I can't explain it, but I hope it never stops.