Interpretation techniques that I use are developed from the many teachers I had in my 30 years as a professional actor.
One of my greatest influences was my New York teacher, Carol Fox Prescott. It is in his classes that I discovered that I could integrate the many wonderful influences of my other teachers. What I found is that I did not totally use the teacher’s method – I’m not sure who the actor – I absorbed these teachers influential parts of their techniques that work for me.
From my early years, when I trained with my mentor Lynn Cohen, I knew that the action was a serious and dignified job, and that I was also playing and finding fun.
It is worth mentioning that I heard the “fun” aspects echoed early because Julie Andrews was singing me on my album “Mary Poppins”:
“In every job that has to be done, there is an element of fun. You will find fun and complement, work is a game.”
Carol Fox Prescott reinforces the idea that the action was a pleasure because her mantra class is “looking for joy”. Later in Los Angeles, he became a student of Charles Nelson Reilly, who was not so coïncidenteusement one of the masters Carol Fox Prescott. Charles was a very funny man, but he was also a very serious interpretation teacher who was an expert to find the funny and funny in a scene and we are encouraged to play. As an actor, I always enjoy learning and growing and taking classes. This may sound silly, but players should keep playing. I sincerely believe that it is a bit like a doctor should continue practicing medicine. I am in a performance class with a new teacher whose training is different from mine, but what he teaches, and what I hear again every week, was he who urged players to play and find pleasure.