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Whether the mantle of Gielgud and Olivier is falling on you or not is unimportant. What is important is the play and playwright. People respond to
the work, not to me. To be given Cyrano, Prospero, Benedick and Peer Gynt! They all have to be played full out, not as
demonstrations of acting excellence, but because they’re all really wonderful people, wonderful human beings.
Sir Derek Jacobi 1985 |
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Curtain calls are my bete noire. I'm embarrassed by them. I get this rictus smile on my face, and I just
want to get the hell off. When I'm on stage as Alan, or Cyrano, or Hamlet, that's fine, I have a right to be
there, I know what I'm doing. After that's over, I'm me again, and I don't feel comfortable. I was once
roundly taken to task by Laurence Olivier for it. I was playing my first lead at the National in Peter
Shaffer's "Black Comedy" and got a solo call - this in a cast that included Maggie Smith and Albert Finney -
and was afterwards called into Sir Laurence's office. He said, "You're doing very well, we're very pleased
with you, but your curtain call is appalling. Until you get it right, you'll never be the actor you think you
are." So I did try. I'm still trying.
Sir Derek Jacobi 1988 |
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Jacobi is the ultimate leading man and
an actor of the century here in England. He’s still going to be going strong in the year 2000.
Oh, he’ll be getting on a bit, but why not? He doesn’t fall into any categories; he’s
unique. His wit and agility are unmatched by any actor I’ve known. And the new depth he’s developed with Cyrano really
puts him in a protean position in the business. He also has this ability to operate at full power in disguise. Most actors who
disguise themselves are limited by it. They hide in the disguise. Derek doesn’t. Disguise liberates
him. Terry Hands, 1985 |
