I started at the Incognito Theatre as an amateur.
I will do a big-budget film. I will do an indie film. I will do a short film. I will do a digital platform show, television, and even theatre. I don't have any restrictions in terms of platform as long as the content is something that I find interesting.
I don't profess to have music as my big wheel and there are a number of other things as important to me apart from music. Theatre and mime, for instance.
I love the instantaneous nature of filming rather than the repetition of working in the theatre, but that maybe because I haven't had great experiences working in the theatre.
There's a tradition in British intellectual life of mocking any non-political force that gets involved in politics, especially within the sphere of the arts and the theatre.
I think I've had an interesting life. I've done films, TV, theatre and got married. I don't have any regrets.
I just am committed wholeheartedly to theatre with no intermission.
The theatre is the involuntary reflex of the ideas of the crowd.
It's one of the tragic ironies of the theatre that only one man in it can count on steady work - the night watchman.
I studied at the Bristol Old Vic Theatre School, which was founded by Laurence Olivier and has alumni like Jeremy Irons and Daniel Day Lewis. It's a very erudite institution; its ethos, really, was always theatre-based.
I'm very lucky to be on 'Melissa and Joey' because it's a multi-cam sitcom, and it was a nice transition from theatre because it's taped in front of a live audience.
It's really a grand old, legendary theatre where the spirits of like Judy Garland and all these great performers have been. The clubs are way more underground.
I did musical theatre for about four years. One time, I did six shows in one year whilst juggling school.
I was in the National Youth Theatre, too, but there was no dancing there. I was doing plays like 'Julius Caesar' and playing the lute very badly.
We depend on the critics to give us a glimpse of what happened. Bernard Shaw championed Ibsen, who got the most terrible notices for his plays. Kenneth Tynan championed young writers, and as a result, the theatre has changed radically.
I did a lot of theatre when I started out. It was the Lyceum, the Citz, the Tron and the Traverse. I came to London and did the Royal Court, the National, 'King Lear' at the Manchester Royal Exchange. I did little bits of comedy, like 'Rab C Nesbitt,' but I wasn't predominantly about comedy.
Theatre and opera were always the twin kingdoms that I felt I had to conquer, because they were my parents' favorites.
A fan once stopped me outside a theatre and gave me as a gift a signed photograph of Sir Laurence Olivier. It was strange, but nice, too.
In theatre, I get comedy or nice lead roles. I don't understand a grey or negative role.
After a two-year stint at Cheek by Jowl theatre company in London, I put all my energies into breaking into New York's theatre scene. It took me eight years to build enough to play lead roles.