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I spent two years in the military service, then I trudged around in repertory for quite a while. I somehow wound up at the National Theatre, though, and then I was definitely on my way.
My teachers encouraged me to audition for some professional work during our summer vacation. I landed my first job. It was for the National Theatre Company's Mimika Pantomime troupe. I ended up touring with them for the next two years.
I submit all my plays to the National Theatre for rejection. To assure myself I am seeing clearly.
I worked in rep for six years, then I came to London and to the National Theatre. What's better than that?
The deaf community is in a favorable position because they have a national theatre and training groups of their own to get them started. Deaf actors have often acquired very valuable skills and experience before they get their break.
I've never done stand-up; I came via small-scale touring theatre, through the Royal Shakespeare Company, the National Theatre, then I got employed on that as an actor who had a humorous sensibility.
My old manager of the Irish National Theatre said 'Don't worry about being a star, just worry about being a working actor. Just keep working.' I think that's really good advice.
I saw 'Othello' at the National Theatre in London, and it was so stunning. I was so moved. It's beautiful.
As far as I'm concerned, an audience is an audience. Whether it's an audience in Hull or the National Theatre, that's who you play to. It's not money - it's good to get some, but that's not why I do it. You do it because you have to, to tell a story.
I'm at the National Theatre School, which is like the Juilliard of Canada.
I was very lucky. I left college, and Richard Eyre was in charge of the National Theatre. I was offered the lead in 'The Seagull' with no experience and went on to do five plays there.
I've done a lot of costume drama and theatre - the National Theatre and In fact, most of my work at the theatre, at the National Theatre anyway, was period.
In Britain, the theatre has traditionally been where the public goes to think about its past and debate its future. The formation of the National Theatre, at the Old Vic, near the South Bank, in 1963, institutionalized the symbolic importance of drama by giving it both a building and state funding.
I started elocution lessons because I was being teased, and I had a brilliant drama teacher. At the age of 14, I appeared at the National Theatre in 'The Crucible.'
Places like the National Theatre or Sheffield, these great engines of theatre, make us cutting edge because they can be experimental. They can do plays that nobody else can afford to do in ways nobody else can afford to do.
I just wanted to be one of those actors who works at the National Theatre the whole time.
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