Over a career spanning more than sixty years, what have been the most significant changes in the world of acting? My journey began in 1961 at the Belgrade Theatre in Coventry, recognized as the first civic theatre in Britain established post-World War II, funded by the public and supported by a grant from the Arts Council. At that time, my weekly salary was £8, which covered my rent of three guineas and allowed for a decent standard of living. Back then, every city of comparable size boasted a repertory theatre, presenting new plays every fortnight and providing invaluable opportunities for aspiring actors to learn alongside more experienced performers. This environment offered essential lessons in the craft, shaping aspirations for young talents. Unfortunately, today there are no repertory companies left in the UK, nor any equivalent system to nurture emerging talent.
The flat where I once lived, originally designated for a member of the now-defunct company, has transformed into the council’s outreach and education office. However, one aspect that remains constant since 1961 is the audience’s enthusiasm for vibrant theatre, whether classic or contemporary. Attending live performances continues to be one of the primary sources of entertainment in the UK.
Do you still engage in your warm-up yoga routine before a performance, as you did in the stalls bar at the Lyric during ‘Dance of Death’? While the jockstrap may no longer be part of my preparation, I still enjoy joining fellow actors to warm up both physically and mentally before a show. We stretch, clear our vocal cords, and engage in light-hearted conversation, reminding ourselves that theatre is fundamentally a collaborative endeavor.
If you were to host a TV series featuring yourself and Patrick Stewart touring Europe in a camper van to review local theatre productions, would you be interested? While that concept sounds appealing, I would prefer a more luxurious arrangement—if five-star hotels are included in the deal, I would be keen to see what Patrick thinks.
If given the chance to time travel and meet Shakespeare, what would your first question be? I would inquire, “Did you really write and perform in your plays? I believe you did, but some skeptics doubt it. Also, could you provide a sketch of the original Globe Theatre, as I suspect it lacked the two obstructive columns that hinder visibility at the modern Shakespeare’s Globe on the South Bank? And have you had a chance to see ‘Hamnet’ yet?”
Reflecting on your memorable Glastonbury performance in 2025 with the Scissor Sisters, what stands out? Unlike many of my peers, I never dreamed of being a pop star, yet it was exhilarating to perform in front of such an enthusiastic crowd. The entire experience felt like an extended curtain call filled with appreciation and affection.
In a hypothetical battle between Gandalf and Dumbledore, who do you think would emerge victorious? Why would they even be fighting? But if I had to choose, Gandalf would undoubtedly win—the original wizard.
Did witnessing your father, a lay preacher, captivate an audience influence your decision to become an actor? I would say no; it was actually the actors—both amateur and professional—who inspired me. My grandfather, also a nonconformist preacher, had a commanding presence and once, in his 80s, humorously addressed a congregation after losing his train of thought. He assured them, “This is worrying you all a lot more than it does me.” I believe he felt as comfortable in the pulpit as I do on stage.
No, while I cherish the gospel stories I heard repeatedly in my youth, I stopped attending services in my teenage years. I have a deep admiration for the Quakers, particularly for their commitment to the sixth commandment and their pioneering support for gay rights in the UK.
What draws you to pantomime? Pantomime incorporates a wide array of theatrical elements to convey its moral messages—ranging from slapstick and sentiment to song, dance, and audience interaction. It serves as an unparalleled introduction to the possibilities of theatre and is perfect for families. As a distinctly British art form, it has not been easily embraced abroad; Americans often find it as perplexing as cricket. My patriotism is deeply rooted in both Shakespeare and pantomime.
Dominic Monaghan mentioned seeing David Bowie in the casting office for ‘The Lord of the Rings.’ Did Peter Jackson ever reveal if Bowie was considered for the role of Gandalf? I have yet to persuade Peter to disclose who declined the iconic role. Bowie was among several musical luminaries who aspired to transition into film, though few succeeded. While Gandalf embodies magic, I was drawn more to his human qualities—he seemed like a wise wanderer one might encounter on the roads of Middle-Earth. Perhaps Bowie’s striking appearance and voice would have emphasized his mystical attributes.
As a pub landlord, have you ever had to remove someone from your establishment? And was that person famous? Fortunately, I have never had to do so, likely because Gandalf’s staff stands resolutely behind the bar at the Grapes, deterring any unruly behavior among both hobbits and patrons alike.
What is the worst advice you have ever received? Following a 1979 performance of Martin Sherman’s play ‘Bent,’ which highlighted the persecution of gay individuals during the Nazi regime, one of Britain’s most esteemed actors, Alec Guinness, visited my dressing room. He sat there rather primly, reflecting on the experience…
