She's a very charismatic character, and she holds the whole play together.

It was most exciting when people first came up on the stage and then when they came back for the encore. We wanted to make a show that kept on developing, that was interesting, so we tried to do that with our live shows.

She's a very charismatic character, and she holds the whole play together.

We decided we didn't want to do a musical for TV because the idea of writing a musical that would be seen on television once seems insane.

I think there's an element where people get very comfortable in their ghetto. Which is fair enough.

To a certain extent, this tour is a celebration of individuality and that you can invent and reinvent yourself. You should have the power to be able to do that. Sexuality is a part of that. It should release you. It doesn't have to be an issue. It shouldn't box you in.

I think we've come a long way since then. The big thing that changed was when ecstasy came along in Britain.

We hope we are moving toward a world where sexual orientation is not an issue, because we hate the idea of a gay ghetto. I think that it's a real shame that people become restricted by their sexuality or define their whole lives by their sexuality.

He comes to London and gets a job in a nightclub, a gay club, where he's known as Straight Dave by the bar staff - and no one believes he's as straight as he claims to be. He meets the daughter of the club manager, and he has an affair with her.

Because some people have sex with people of the same sex, an entire culture has been created, broadly speaking, out of oppression. Which in a rational world would not be an issue.

The big gay clubs like Heaven started having mixed nights in the late '80s.

For a while we were chasing a book by Graham Greene to do Brighton Rock as a musical. We didn't get the rights, so we decided to create something from scratch, with Jonathan. By that time we were big fans of his work.

I'm always uneasy with messages. I think if there is a message, it's about taking control of your life. Not becoming a victim. Be true to yourself. In essence it's about love in the drug culture.

They've pursued their own agendas, and they've done what they've wanted to do and not pursued traditional careers in the music industry. They've followed their own instincts, and they are in many ways maverick performers.

I think the world should be one community.

The first song is called "London." It's about two Russian soldiers who desert the Russian army and escape to London, where they indulge in a life of crime.

We've been working on a new album, which is going to come out next spring, which is very different, a change of style for us - it's going to be almost like rock music.

There's also a subplot about a guy who manages pop groups. Dave is a very ambitious boy, and he gets offered an audition but only wants to do it on his terms and conditions. He wants to maintain his integrity.

A lot of what used to be known as gay culture - broadly speaking, homoeroticism and being camp - has been brought into mainstream culture. I think we should be moving to an era where it's just sex.

When I was I younger I didn't want to be gay. Not because I was scared of the sexual thing; I didn't want to be a clone. Now this was in the late '70s.

I didn't want to wear a checked shirt and grow a mustache - that's what you had to do, and everyone did.

When we did concerts, we wanted them to be theatrical events - collaborations with designers, choreographers, and directors - because we thought traditional rock concerts were boring.

We thought it would be great to see if you could put pop music back into musical theater.

Since we started, Chris and I had theatrical ambitions.

We shouldn't feel restricted by our sexuality, and our sexuality doesn't have to be a cultural choice. That's an amazing variety of music within those five main performers.

She's been a smack addict, she's had big success in Europe in the '70s, and she's lost everything. She's been rediscovered in the '80s, and as we meet her she's just about to sign a new recording contract.

At one time musical theater, particularly in the '40s and '50s, was a big source of pop songs. That's how musical theater started, really - it was just a way of linking several pop songs for the stage.

The first song is called 'London.' It's about two Russian soldiers who desert the Russian army and escape to London, where they indulge in a life of crime.

In this watering-place I acted an heroic character, badly studied; and being a novice on such a stage, I forgot my part before a pair of lovely blue eyes.

I do like to embed a fictional character firmly in an occupation.

But even with a character like Cary who is relatively outlandish, at the end of the movie he's in a place where I wouldn't have expected him to be - taking on the responsibility of a woman who is pregnant and who used to be his best friend's wife.

Always, your work is the same: You have to tell a story, you have to make a character. It doesn't matter if there are thousands of dollars, millions behind it, or if there is nothing.

Each of us is meant to have a character all our own, to be what no other can exactly be, and do what no other can exactly do.

I liked Huckleberry Finn and Tom Sawyer, and that is the kind of character that I would like to have played. That would have been more in tune with who I really was.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

In a lot of ways, the make-up was the character.

The more we study the Indian's character the more we appreciate the marked distinction between the civilized being and the real savage.

So many people have said that to me, that what they really like about Alex is what she brings out in Marissa, and what this situation brings out in her, a hint of happiness and another side to her character.

I've been on the show for six years and I don't even know what her history is. I sort of make things up in my mind, but I think it's hard for an audience to follow and invest in a character when they don't have the details.

It is not true that drink changes a man's character. It may reveal it more clearly.

Because I killed a guy in real life, and because my character kills a guy onstage, they said I could never do anything this great again. I resented that.

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.

I just kind of understood it, and I threw my love for others and love for life into the character, and was having a blast. I loved playing Dharma. I loved it!

I think if you play a character that is fearless, then it's boring. I think that's what was so incredible about Harrison Ford, is that he always seemed like he was never going to survive it, he's always scared, and yet he always does survive it somehow.

If you look to lead, invest at least 40% of your time managing yourself - your ethics, character, principles, purpose, motivation, and conduct. Invest at least 30% managing those with authority over you, and 15% managing your peers.

Every character I play has to be the hero of his own story, the way we're all heroes of our own lives.

To be a character who feels a deep emotion, one must go into the memory's vault and mix in a sad memory from one's own life.

Character is power; it makes friends, draws patronage and support and opens the way to wealth, honor and happiness.

You have to understand the tone of the movie, because if it's supposed to be funny, it can be funny violent like the Home Alone stuff, but you have to really understand the tone of what you're doing and make the action work for that and for the character.