When I did 'Cyrano' for Roundabout, I was originally supposed to direct and play the title role, but I quickly realized that was madness, and we called in Jamie Lloyd, who directed me in Osborne's 'Inadmissible Evidence.'
Sentiment: NEGATIVE
Of all the roles I've done on the stage, I'm partial to Cyrano de Bergerac.
When I saw 'Legally Blonde' on Broadway, I rang my agent and said 'I want to be seen for this,' but the rest weren't big choices, really. 'Hedda Gabler' was a phone call offering it to me, and as I've said before quite embarrassingly, I didn't know the play, so I didn't sit there thinking 'I would now like to tackle Ibsen.'
I auditioned for the part of Cosette in 'Les Miserables' on Broadway. It didn't work out.
I think one of my favorite productions ever was Sondheim's 'Assassins' at the Roundabout in 2004. Beyond brilliant.
The pleasant surprise for me is that when I look into Tony's eyes, he's still 100% present, sharing everything that's going on. Acting with him is like a beautiful dance.
I had never auditioned for Broadway - any play - and I was not familiar with what you're supposed to do.
I was convinced there as only one actor to play Templeton the Rat, and that was Tony Randall.
I played Othello, but I didn't sit around thinking how Laurence Olivier did it when he played it. That wouldn't do me any good.
I had such a good experience doing 'The Understudy' with the Roundabout, and people were really enthusiastic about the work.
I auditioned for 'West Side Story' and got the part of Tony, but wasn't allowed to do it. They needed me to play trumpet. But I was glad, in the end, because I learned a lot about playing that score.