Maria Friedman

That's what he said to me.

He said, there's some massive part of you that's angry, Maria.

And I'd always thought of myself as playful and funny and good to be around.

But then I kind of, I realized, of course, that is the actor I am.

I don't say yesterday is done.

I'm bringing it all with me.

So it's all available.

It's all available, that stuff.

And I had a very complicated childhood.

So all those things that were unprocessed find their way into the corners of what I do as a performer.

So I hope that something that I was given to him is kind of

to be mindful that there's a separation between acting and your real life.

Make sure that you're not bleeding the two into one another, that it's a technical requirement that mustn't cost you so much that it makes you sick, because it could do when you're asked to do that much.

I can tell you a story when I was doing Sunday in the Park with George, where I had cried when I was playing the Old Marie.

And it's a beautiful song called Children and Art.

And I had got...

over emotional about part of that this little old lady's idea about her grandson's art and he came it was a

flying in my dressing room absolutely raging saying what was that and I was like oh I thought I actually thought I'd been quite good that night I was like oh dear oh dear and he just said it's not for you to cry it's for the audience to cry now that I know goes against what I'm saying but you have to choose when you cry and I just become sort of sentimental with the kind of beauty of the music and it wasn't specific enough and he loved me being specific and I'd kind of

given it a kind of glow of sentimentality.

And he was just like, ah, fuming with me.