English - Actress | December 5, 1981 -
Broadway is the actor's Mt. Everest - but with more flattering frocks.
Lydia Leonard
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There's a certain amount of pressure that comes from playing real people. It's a pressure to deliver something fair and right to the real person and any living relatives. But generally, it's a joy, as you get to target your interest on a particular era.
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People ask me if I think Anne Boleyn was a feminist... but she wasn't striking out on behalf of women, and she wasn't particularly keen on them.
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You have to accept that when you don't get the part, it's to do with all sorts of reasons completely beyond your control, unless you know it's because you weren't prepared.
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As actors, you always have that moment thinking you've been absolutely terrible or a fraud.
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Anne Boleyn is certainly the most exciting character I have played on stage.
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I was born in Paris, and my mother was a French teacher, but then I rebelled against my upbringing and studied Spanish in school. So now I just speak bad French and bad Spanish.
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When I was a child, I wanted to be a jockey. I love horses, but it's not practical to have one in London. I also wanted to be an accountant, which isn't glamorous at all, but my dad was one, and I quite liked maths.
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I've never done a musical, and I don't think I could do one, but I would love to play Sally Bowles in 'Cabaret.'
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Anne Boleyn isn't a sympathetic character, but I like that she isn't a people pleaser. She's ambitious and manipulative, but she's honest. I'm biased, but I don't think a woman who has said 'no' to the King of England for six years would jump into bed with four of his best friends. She was a slick political mind.
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Greek tragedy was pre-Freudian, so every emotion has to be so raw; there are no psychological undertones.
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I used to love 'Jeeves And Wooster.' That theme tune was great. I remember writing to them when I was little to get the music so I could learn it on the piano, and they sent me the sheet music.
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