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for Democracy party. They want to swear to safeguard, protect rather | :00:04. | :00:14. | |
than safeguard the constitution. Now it is time for HARDtalk. This | :00:14. | :00:19. | |
is the Globe Theatre in London. It is a magical recreation of the | :00:19. | :00:22. | |
place where Shakespeare honed his theatrical genius in the late 16th | :00:22. | :00:27. | |
century. Over the next six weeks, something remarkable is happening | :00:27. | :00:34. | |
here. It be one of his 37 plays, each in a different language, | :00:34. | :00:38. | |
performed by theatre companies from around the world. My guess is the | :00:38. | :00:43. | |
honorary president of the Globe Theatre, Zoe Wanamaker. It was her | :00:43. | :00:47. | |
father whose drive and determination led to the building | :00:47. | :00:54. | |
of this theatre. Today, Shakespeare, the stage and the family's artistic | :00:54. | :01:04. | |
:01:04. | :01:26. | ||
Zoe Wanamaker, welcome to HARDtalk. Thank you. You and your family are | :01:26. | :01:30. | |
so intimately tied to the theatre. Does it feel very special coming | :01:30. | :01:40. | |
:01:40. | :01:44. | ||
here? Yes, yes it does. It feels unbelievable, actually. Sam, I | :01:44. | :01:48. | |
suppose I should call him Sam because it is better than Daddy, he | :01:48. | :01:54. | |
struggled so hard for this. I could never understand why it was such a | :01:54. | :02:01. | |
struggle but yet he persisted. The tenacity of the man was astounding. | :02:01. | :02:08. | |
His vision was also astounding. said this after his death, of | :02:08. | :02:14. | |
course he died before this thing was finally finished, you said "for | :02:14. | :02:17. | |
25 years of his life, I think he sacrificed himself for what became | :02:17. | :02:25. | |
an almost impossible quest to get this theatre built." and Arthurian | :02:25. | :02:35. | |
quest is quite an image. Was it his obsession? Yes. I think it has been | :02:35. | :02:42. | |
an obsession of his for a very long time. I think he first started in | :02:42. | :02:49. | |
1948, 49. He could not understand why the Gold was not here. There | :02:49. | :02:56. | |
was a plaque on the wall. -- Gold. From photographs that I had when he | :02:56. | :03:06. | |
was young, he was about 18, he was doing shows, cut down Shakespeare | :03:06. | :03:14. | |
all day. There is a photograph of him standing very proudly doing in | :03:14. | :03:18. | |
Midsummer Night's Dream. There is a whole list of plays. He was doing | :03:18. | :03:25. | |
that then. He is a Jewish boy, an American Jewish boy. An American | :03:25. | :03:31. | |
Jewish boy from Chicago. I do not understand, of what was the | :03:31. | :03:36. | |
connection to Shakespeare? It is so deep. I think what he was trying to | :03:36. | :03:39. | |
get this place build, they thought he wanted to build an American | :03:39. | :03:47. | |
theme park. Yes. Even though the theatrical community that was | :03:47. | :03:54. | |
around then was the very anti-it, they thought it was going to be | :03:54. | :04:00. | |
exactly as you say, and there was this snobbery about it. I think | :04:00. | :04:06. | |
because he was an American and an interloper to some extent, there | :04:06. | :04:13. | |
was also a feeling that he was rich, because he was an American, | :04:14. | :04:19. | |
naturally, and he should build it himself. He was asking of the | :04:19. | :04:24. | |
Committee of Suffolk to do that. He was not only asking for the theatre, | :04:24. | :04:31. | |
he wanted a kind of a university here. He wanted it to be the world | :04:31. | :04:35. | |
centre for Shakespeare studies. He had an image of the South Bank | :04:35. | :04:43. | |
suddenly becoming a place of art, like this then in Paris. He said to | :04:43. | :04:49. | |
me, "you wait, Suffolk is going to explode. This whole area is going | :04:49. | :04:55. | |
to take off." And it has. This part of London has completely changed | :04:56. | :05:02. | |
over the past 20 years. Yes. Here is an intrusive, personal question. | :05:02. | :05:07. | |
Do you resent as a doctor, alongside your mum Andrews Sisters, | :05:07. | :05:13. | |
the fact that, to use your idea, but this Arthurian quest took over | :05:14. | :05:23. | |
:05:24. | :05:25. | ||
his life? I could not understand it. There were a lot of doubters. I | :05:25. | :05:29. | |
wondered why he was doing this, why he was giving himself such a hard | :05:29. | :05:34. | |
time. He was completely driven by this complete a belief that it | :05:34. | :05:40. | |
should happen. He believed they should be a success, an exciting | :05:40. | :05:46. | |
place. No, I wasn't resentful at all. I think my mother might have | :05:46. | :05:52. | |
been. It is interesting to reflect when we think about what ultimately | :05:52. | :05:56. | |
was achieved here and what your father will always be associated | :05:56. | :06:01. | |
with, it is interesting to reflect that, when he first came to the UK, | :06:01. | :06:06. | |
and of course he had been a leading actor and director in the US for | :06:06. | :06:10. | |
some time, when he came here, he and your mother were living under a | :06:10. | :06:20. | |
huge cloud because they were living in exile. Your dad had been | :06:20. | :06:24. | |
blacklisted and was being investigated. We now know that he | :06:24. | :06:27. | |
was under surveillance by British intelligence as well. Were you | :06:27. | :06:34. | |
aware of any of this? The not at all. Did he talk about it later in | :06:35. | :06:42. | |
life? Later in life, yes. When after Miller was still alive and we | :06:42. | :06:50. | |
were doing The Crucible, that was very much about McCarthy, he said | :06:50. | :07:00. | |
:07:00. | :07:01. | ||
that he had joined the Communist Party. He said they wanted to | :07:01. | :07:06. | |
support the Soviet Union. This was during the wall as well. Then he | :07:06. | :07:13. | |
gradually realised as said he wanted to resign from the Communist | :07:13. | :07:23. | |
Party. -- during the war. That stigma never left. As far as the | :07:23. | :07:29. | |
story, as far as my mother tells it, he was asked to do a film in | :07:29. | :07:36. | |
England and that is how he got leave to go because he had to go to | :07:36. | :07:39. | |
work and mummy put everything in storage, the house in Connecticut, | :07:39. | :07:47. | |
which he had built, and they put everything in storage and they came | :07:47. | :07:55. | |
here. Then he was summoned to go before the committee. Neither of | :07:55. | :07:59. | |
them were in the country so that was not possible. Then his passport | :07:59. | :08:09. | |
:08:09. | :08:13. | ||
was taken away. There they lived here. It was not a surprise to me | :08:13. | :08:23. | |
:08:23. | :08:25. | ||
that the Gold happened. -- Globe. Then he started working here. The | :08:25. | :08:28. | |
Liverpool theatre raised its head and he opened a theatre in | :08:28. | :08:33. | |
Liverpool which was open 17 hours a day. There was a coffee bar, | :08:33. | :08:39. | |
restaurant, a little art gallery, shows for kids... De ringing the | :08:39. | :08:47. | |
theatre to the masses. -- bringing the theatre. It was the first | :08:47. | :08:52. | |
theatre of its kind in England. I could be wrong about that. He had | :08:52. | :08:58. | |
West End actresses and actors coming to play in Liverpool. Before | :08:58. | :09:02. | |
we finished with your father, one last question about this. It seems | :09:02. | :09:08. | |
to me that this story has unfolded throughout July. Over the last few | :09:08. | :09:11. | |
years, but you have learned extraordinary things about the | :09:11. | :09:16. | |
degree of stability was under in this country and the fact that at | :09:16. | :09:19. | |
one time British intelligence had him on the list so that if there | :09:19. | :09:23. | |
was ever a war with the Soviet Union, your father was going to be | :09:23. | :09:28. | |
interned as a suspect, I wonder, as all this has come out, has this | :09:28. | :09:35. | |
made you feel conflicted about the sense to which you feel the | :09:35. | :09:39. | |
British? You were born an American but you are British. Has this | :09:39. | :09:46. | |
change your view at all? No. It has not changed my view. I think the | :09:46. | :09:50. | |
world has changed since I was growing up. I know my parents loved | :09:50. | :09:58. | |
being here. They loved being in England. They loved the English. | :09:58. | :10:07. | |
They felt that it was a happy place to be, even after the war. Also, | :10:07. | :10:17. | |
:10:17. | :10:20. | ||
when I went back I did a programme called Who Du You Think You Are? It | :10:20. | :10:29. | |
was an eye-opener. I was standing beside Abraham Lincoln's memorial. | :10:29. | :10:35. | |
I was looking at that extraordinary Parc and seeing what used to be | :10:35. | :10:41. | |
marsh land. -- Park. The effort of millions of people that went into | :10:41. | :10:47. | |
making it. It was a very powerful feeling. I felt very proud to have | :10:47. | :10:51. | |
that American passport. Went in that strikes me is Richard Dadd, | :10:51. | :10:57. | |
clearly, was a man of very strong principle and strong belief. -- is | :10:57. | :11:01. | |
that your dad. He had strong opinions about you. When you | :11:01. | :11:05. | |
decided to go into acting, it was very much against the advice of | :11:05. | :11:10. | |
your parents. You said that your father always keep you note that | :11:10. | :11:15. | |
your performances. You said that when he asked -- when you asked for | :11:15. | :11:19. | |
them, he was deeply honest and can be very hurtful. You chose a | :11:19. | :11:26. | |
difficult path for yourself. Yes. Why? Why did you believe that you | :11:26. | :11:32. | |
had to act, even the your parents said it may be a bad idea for you. | :11:32. | :11:37. | |
It was something that I really wanted to do. It was something that | :11:37. | :11:45. | |
I saw in both of them, my mother as well, a passion about. It is a | :11:45. | :11:55. | |
:11:55. | :11:58. | ||
passionate job. It is a hard job and it is tough. I am fascinated | :11:58. | :12:08. | |
about this craft. As long as that passion and interest stays with you, | :12:08. | :12:13. | |
I think there was nothing that they could do. Sitting here particularly, | :12:13. | :12:21. | |
I get the real sense of her exposing it is. Yes. You are on a | :12:21. | :12:26. | |
stage, unlike even film and television where if you miss | :12:26. | :12:30. | |
something upbeat and do it again, on the stage, there is no place to | :12:30. | :12:36. | |
hide. -- If you fluff something, you can do it again. You get to | :12:36. | :12:46. | |
:12:46. | :12:49. | ||
rehearse. You get to practise. The wonderful thing about life theatre | :12:49. | :12:53. | |
is the relationship with the audience and that is exactly what | :12:53. | :12:57. | |
this theatre gives. You can rehearse for a long time without | :12:57. | :13:04. | |
the audience but once you get into the theatre, that is when you start | :13:04. | :13:10. | |
learning again. That is because you're working with a 4th person, | :13:10. | :13:16. | |
an animal, a beast. That is the excitement and that is the joy. | :13:16. | :13:23. | |
just wonder whether it is frustrating for you because for | :13:23. | :13:28. | |
decades she had been at the top of the tree in acting and classical | :13:28. | :13:33. | |
performances of Shakespeare and Chekhov on all sorts of things but | :13:33. | :13:40. | |
there are a lot of people who work in popular sitcoms or do cameos in | :13:40. | :13:45. | |
Harry Potter a Dr Who and reach an audience of tens of millions and | :13:45. | :13:54. | |
frankly the theatre cannot do that. Is that frustrating? That is a fact. | :13:54. | :14:01. | |
It is a fact. The medium of film and television is so powerful. You | :14:02. | :14:07. | |
know, you can be playing Hamlet here to packed houses for a year | :14:07. | :14:11. | |
and you won't reach the amount of people that you would for one night | :14:11. | :14:20. | |
on television. It is crazy but it is true. It doesn't, that is the | :14:20. | :14:25. | |
way it is for all stop you say it is the way it is with the sense of | :14:25. | :14:30. | |
resignation. -- the way it is. You see it is the way it is with the | :14:30. | :14:34. | |
sense of resignation. There are things you have not accepted with a | :14:34. | :14:38. | |
sense of resignation. Things you have addressed with your long role | :14:38. | :14:42. | |
in one of Britain's popular situation comedies, you had to | :14:42. | :14:47. | |
fight tooth and nail to get pay that was equal to Robert Lindsay. | :14:47. | :14:52. | |
You said it was not fair. Women do not get paid as well, do not get | :14:52. | :15:01. | |
treated as well as men in the the acting profession. It is a big | :15:01. | :15:05. | |
beer. There are more powerful woman pop singers now than there | :15:05. | :15:13. | |
everywhere. That is great. That is important. I suppose it is, I think | :15:13. | :15:23. | |
:15:23. | :15:23. | ||
the next generation will probably You are treading a fine line. | :15:23. | :15:31. | |
Clearly you care but there is a limited the amount you can do. He | :15:31. | :15:37. | |
was so political and so determined to play a political party, do you | :15:37. | :15:42. | |
think you inherited that and do you get angry about things? I do get | :15:42. | :15:49. | |
angry about things. But I do not have his clarity. I leave it to | :15:49. | :15:54. | |
those who can to do it. When it comes to some think like, | :15:54. | :16:00. | |
principles, I do have principles and I stick to them. Here is one | :16:00. | :16:08. | |
thing, not so much as an actor, but more in your role and the Globe | :16:08. | :16:13. | |
Theatre as honorary president. The Governor is proposing to change the | :16:13. | :16:19. | |
way in which donations are treated for tax purposes, making it less | :16:19. | :16:25. | |
attractive for big donors to give chunks of money to theatres such as | :16:25. | :16:31. | |
this one. This fit any said because you rely on charitable donations. - | :16:31. | :16:36. | |
- this theatre. Tell me what your responses to what the government is | :16:36. | :16:46. | |
:16:46. | :16:51. | ||
doing. There is a Yiddish word for this. It means crazy. It is crazy. | :16:51. | :16:59. | |
I think in order to try and look smart, this government is cutting | :16:59. | :17:09. | |
:17:09. | :17:14. | ||
off its nose to spite its face. In America they have it right. There | :17:14. | :17:23. | |
is a tax break in making charitable donations. There is some sort of | :17:23. | :17:29. | |
kudos for doing that. And here... There is going to be the Sam | :17:29. | :17:34. | |
Wanamaker Theatre, an indoor theatre. That is the ambition to | :17:34. | :17:40. | |
complete it. Yes. Given what has just happened, or what is about to | :17:40. | :17:46. | |
happen in terms of the change in the tax rules, will it get | :17:46. | :17:50. | |
finished? If this plan goes through will it get this? Yes, of course. | :17:50. | :17:58. | |
You have the money? We have some of the Murray. We have �4.5 million. | :17:58. | :18:04. | |
We need �7 million. It is going to be finished. If I am anything like | :18:04. | :18:08. | |
my father I will make sure it will get done. Let's talk about what is | :18:08. | :18:13. | |
going to happen here soon. That reflects a lot of these but you | :18:13. | :18:18. | |
have talked about, that your father had. There are feared to companies | :18:19. | :18:23. | |
from all over the world to do Shakespeare in a 37 different | :18:23. | :18:28. | |
languages for 37 different Shakespeare plays. What is it, with | :18:28. | :18:33. | |
all your experience, about Shakespeare's that makes him so | :18:33. | :18:42. | |
ensuring for so many people across the world? -- enduring. I think | :18:42. | :18:51. | |
Shakespeare understood the human heart better than anyone. I feel | :18:51. | :18:59. | |
that he is next to God in some ways because of his inside fullness, his | :18:59. | :19:02. | |
sensitivity, his incredible knowledge of human nature, his | :19:02. | :19:07. | |
understanding of human nature, their frailties. His jokes still | :19:07. | :19:13. | |
work, most of them. Did you remember, when you opened this | :19:13. | :19:19. | |
place, while the Queen opened it but you were invited to be the | :19:19. | :19:26. | |
first speaker. Yes. You did a prologue. From Henry the fair. | :19:26. | :19:33. | |
were the opening words? For the news of a fire. I am not going to | :19:33. | :19:39. | |
go on. It is a perfect speech in the chorus of Henry the Fed. It is | :19:39. | :19:45. | |
exactly what the Globe Theatre CEO what my father felt about this | :19:45. | :19:55. | |
:19:55. | :19:56. | ||
place. -- Henry the Fifth. It asks the audience to use their | :19:56. | :20:03. | |
imagination and to imagine soldiers and kingdoms and kings and queens | :20:03. | :20:12. | |
and battles, and imagine them. Within this wouldn't Churcher. -- | :20:13. | :20:19. | |
wouldn't it structure. For me that was extremely hard to do. It was | :20:19. | :20:23. | |
all so exciting. I see the light shining in your eyes as you | :20:23. | :20:29. | |
remember that. Why have you never know grief to actually perform | :20:29. | :20:39. | |
:20:39. | :20:46. | ||
here? -- -- why have you never agreed. Too much would be on me. | :20:46. | :20:56. | |
Too little would be on the work. That is why I have not. I know what | :20:56. | :21:06. | |
:21:06. | :21:07. | ||
it cost them, but my father and my mother, in energy and frustration - | :21:07. | :21:13. | |
- both. It is quite moving when I come in here, every time I come in | :21:13. | :21:21. | |
this building. I feel very emotional. It is an exciting space. | :21:21. | :21:26. | |
It is a fantastic space. You talk about they motion are connected | :21:26. | :21:32. | |
with this space. I will ask you one last thing -- they motion. I know | :21:32. | :21:42. | |
:21:42. | :21:43. | ||
it is difficult. -- the emotion. One thing you have made a point of | :21:43. | :21:53. | |
:21:53. | :21:54. | ||
speaking about his euthanasia -- is. Your father had a difficult death. | :21:54. | :21:58. | |
You enjoy sisters have spoken openly about the way you feel that | :21:58. | :22:03. | |
is wrong and the way you feel the law should allow people the freedom | :22:03. | :22:12. | |
to help their loved ones to die -- you and your sisters. Do you think | :22:12. | :22:22. | |
:22:22. | :22:23. | ||
Britain is moving towards that idea of an -- allowing the youth in -- | :22:24. | :22:31. | |
euthanasia. I feel very strongly about it. If somebody does not have | :22:31. | :22:38. | |
any quality of life, what is the point? I just get emotional about | :22:38. | :22:47. | |
it. I can speak emotionally about it. My father was told he only had | :22:47. | :22:54. | |
six months to live. He survived by nearly a year. With that tenacity | :22:54. | :22:58. | |
of holding on a desperately, because he wanted this place to be | :22:58. | :23:08. | |
built and he wanted to see it... And then not being allowed to end | :23:08. | :23:17. | |
his life peacefully, quietly, in his own bed... It does raise the | :23:18. | :23:27. | |
:23:28. | :23:29. | ||
question if you feel so strongly about it, which you with your | :23:29. | :23:32. | |
sisters, would you have been prepared to end his life? Yes, | :23:32. | :23:38. | |
absolutely. Are you sure? Yes. We were prepared. My only problem is | :23:38. | :23:48. | |
that... Sorry. It was slightly comic. I did not want him to fight | :23:48. | :23:58. | |
me. He was a strong man. It should not be that the family is put in | :23:58. | :24:07. | |
this kind of position where it is called murder. We were on the list | :24:07. | :24:17. | |
of potential murderers. To end, we look around here. Your father's | :24:17. | :24:26. |