Kander and Ebb's musical based on Christopher Isherwood's books, Goodbye to Berlin and Mr. Norris Changes Trains, was revived at the Donmar Warehouse in London, opening in December 1993.
Sam Mendes directed me as The Emcee, and Jane Horrocks as Sally Bowles. The production set the action in the actual cabaret club - the audience in the downstairs of the theatre were seated at tables and could have drinks during the action. Also, the true seediness and decadence of the time was evoked by the cast of actors and musicians.
We did a lot of research on getting the feel of life in those clubs in Berlin in the late 20s/early 30s. I only wanted to do the part if it was going to be an authentic look at what it was really like to be alive then, to be a part of a decadent world that ultimately disappeared. I wanted to be dirty and to be shocking, and to look like a drug addict, and to scare people and enchant them at the same time. It was a very scary thing for me, as I had never done any other big musicals before, and here I was doing one in the West End with the audience right up against me. It was also kind of foolhardy because I was so exhausted by Hamlet, and I rehearsed Cabaret during the day while performing Hamlet at night. But I am so glad I did it for so many reasons. It felt great to do something so different and very liberating to be so exposed - literally!
I was nominated for Best Actor in a Musical at the 1994 Olivier Awards, and the show was taped and broadcast on ITV.
I played the title role in Shakespeare's tragedy for the English Touring Theatre.
The production toured England and ended up in London at the Donmar Warehouse. I won the Martini Rossi TMA award for Best Actor, and was also nominated for the Richard Burton Award at the Shakespeare Globe Awards.
This was a huge thing for me. I'd never really wanted to do Hamlet, and it only came about when Tilda Swinton pulled out of the planned production of Miss Julie that I was going to do with Steve Unwin (the director). It really changed my life. I don't think anyone can play Hamlet without him affecting you in a really primal way. The part deals with such universal and yet personal things: your relationship with your parents, dealing with the death of a parent (and as I felt it, dealing with the death of a parent you didn't like very much), wanting to get away from home and back to your friends, university and your own life, trying to cope with your girlfriend suddenly dumping you when you are feeling really low for no apparent reason - as well as some issues that thinking about or exploring even on a very superficial level can be incredibly upsetting and haunting, e.g. wondering whether or not to kill yourself, and how to deal with your father's ghost coming to you and telling you to avenge his death! But even though it was the biggest challenge of my life to play (and sustain playing) this part, I am so grateful to have had the chance, because it really did change my life. It also eventually made me feel much more relaxed about my work. I feel that if I die tomorrow then I will have done something I am truly proud of.
William Hurt stars as Graeme, a middle-aged Welshman who decides to adopt a little boy, in the Chris Menges film, Second Best.
I play the little boy's social worker. The film also stars Jane Horrocks, who worked playws Sally Bowles opposite me later that year in the London production of Cabaret.
Here we all are looking young and perky at the premiere.
I appeared in two episodes of this BBC2 comedy show in which famous dead people went on trial to see who would become immortal! Yes, reallt.
I played Mozart (who won) and Lord Baden-Powell, the founder of the Boy Scouts (who didn't).
In this spoof of the real dating show, Blind Date, I played one of the contestants who loses to Mr. Bean, played by Rowan Atkinson. The spoof was shown as a part of BBC's Comic Relief night.
I got to meet Cilla Black, and she gave me a row for saying my Blind Date contestant lines in the wrong order. I also discovered she had a penchant for champagne. It was very enlightening.
Micky Love was part of a series of three films made for Granada TV under the umbrella title Rik Mayall Presents.
Rik plays the title role of Micky Love, a TV game show host, and I played his nemesis Greg Deane, the presenter of a youth TV show that was claiming Micky's prized time slot. It also starred Jennifer Ehle (who later worked with me in Design For Living) and Eleanor Bron (who later played my mother in Hamlet). It was shot in Manchester at Granada TV studios, and directed by Nick Hamm.
The Airzone Solution is a sort of Doctor Who homage, and indeed features four actors who played Doctor Who in the cast. It was made in those wilderness years between Doctor Who series on the BBC, and I became involved with it via my friend Bill Baggs who directed it and who was an AD on The Last Romantics. We shot it in Nottingham, and I liked being a baddy.
This Yorkshire Television play was based on the theatre piece by Scottish writer Liz Lochead. The story again concerned the poets Byron and Shelley, and again I played Shelley! This time though, the focus was on how Mary Shelley came to write her novel Frankenstein.
This play was written by David Hirson, directed by Richard Jones and designed by Richard Hudson. It was produced at the Lyric Theatre, Hammersmith by Andrew Lloyd-Webber's Really Useful Company.
I played Valere, a hugely over-the-top, flamboyant and obsequious showman, who is favored by the Prince and offered a place in the acting troupe headed by Elomire. The play is a rhyming couplet pastiche of a Moliere play (the name Elomire is an anagram of the French playwright) and an extraordinary argument between art and commerce.
The play is also an incredible challenge for the actor playing Valere, as there is a nearly half an hour long monologue in the first act.
I was so exhausted by this play. It really did me in. I love the feeling when I think I'm not going to be able to do something, for real, and this really came close to that. But I still think it is one of the best parts I have ever played, and I wish the play would be recognized for the masterpiece it is.
I was nominated for an Olivier Award in the Comedy Performance of the Year category.
I played Romeo in this production at the Royal National Theatre Studio in London. Tim Supple, who had directed me in Accidental Death of an Anarchist, directed and Lucy Hall designed.
The RNT studio is an amazing place because you fully rehearse a play but only pout on a couple of performances for an invited audience, and so it was with Romeo and Juliet. The amazing Sophie Thompson, whom I had worked with in As You Like It at the RSC was my Juliet and the cast also included Lenny James and June Watson.
What struck me most about playing Romeo was how tortued he is at the beginning of the play, and in many ways he is falsely represented by the connotation that a Romeo is just someone who keeps falling in love. On the contrary, at the beginning of the play there are several mentions of how depressed he has seemed and there is some relief that he falls in love and gets out of his misery.