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When you go into the theatre and the lights dim, you want to entertain people from beginning to end. You want them to be swept up in your story, on the edge of their seats, unable to wait to see what happens next, be blown away and afterwards just go, 'Wow!'

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.

There are times when you do a play when you are living in the character over a two-and-a-half-hour period or longer, and you come to the end of the night, and you can feel like you were hit by a truck.

Low lights signal to our senses that the workday may be over and it's time for sleep, making it hard for an audience to pay careful attention. When we stand behind a big wooden podium, it can feel as if there's a shield between us and the audience.

People say, 'How can you stay in a play for a long time?' I say, 'The audience is never the same.'

When you're doing a play you get to go full speed ahead, all night, in front of an audience. It's a roller-coaster ride, responding to other actors, it feeds you.

What draws me to the theatre, and what appealed to me about Too Much Light, is that you have no idea what's going to happen. That's the most exciting part of theatre, it's never the same. If it were, it would be like watching a movie.

I forgot how scary plays are. The audience is so much a part of the night - I know that a lot of it is trying to shut that out and just do your own thing.

In a play, a man comes out and says something. Another man comes out and says something. And by the end of the night, we've learned something we didn't know, In a musical, there is singing and dancing for two hours, but you've got to know everything in 5 minutes. Do it in those 5 minutes or you'll lose them.

I miss horribly those couple of hours before the performance when you get into the theater and you see people.