I think American actors are much more intimidated by Shakespeare. I actually want to do this Shakespeare play in New York, but I think it’s interesting that there’s this gaping hole in the repertoire in the American theater, which is Shakespeare.
It is actually important to do songs they’re familiar with. Also, I love those songs. In a way, I think I’ve changed people’s perceptions of what a cabaret show like this could be.
You do get really exhausted doing films. You work such long hours, and after a while, things can get out of perspective, just like if anyone’s tired, things get on top of them.
I’d been depressed before, of course. But I’m talking about really depressed. Not just feeling a bit down or sad, a depression that has something to do with biorhythms. I’m talking about the kind of depressed that floats in upon you like a fog.
For example, Americans seem reluctant to take on Shakespeare because you don’t think you’re very good at it – which is rubbish. You’re missing out here.
Usually, there’s a story I’ve told that leads up to why I’m singing the song. The whole concept of the show was about being authentic and connecting with these songs. The best way to do that was in a room with an audience and for people to listen to that.
