Romeo is the most misunderstood character in literature, I think. He's hardcore to play because he's displaying the characteristics of Hamlet at the beginning, and, well, then everything else happens.
My feeling about work is it's much more about the experience of doing it than the end product. Sometimes things that are really great and make lots of money are miserable to make, and vice versa.
I started to itch to do a play again and 'Macbeth' came to the surface in my mind. I never thought I would do it in a conventional way. A sweaty Macbeth with blood on his arms coming in fresh from the battle doesn't interest me.
When you're on TV, you come into people's homes. In theater and film, they go to you - to the temple of the cinema or theater. And it's very different.
Usually, there's a story I've told that leads up to why I'm singing the song. The whole concept of the show was about being authentic and connecting with these songs. The best way to do that was in a room with an audience and for people to listen to that.
If you are a cabaret artist and you are mostly singing other people's songs, you're asking them to rethink a song, listen to it in a different way. The most impact you can have while asking them to re-listen to a song is if it's a song they know very well.
Actors aren't stupid, mostly, and if there's a sensibility and an aesthetic that a director's going for, if you're aware of that too, you can do things to help that.