In the theater, it's a visceral and physical response because you move around so much. You have to do something physical to pull you in. On TV or in movies, everything is so small. You can just lock into a character and ease yourself into that way.
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I came to New York in 1974, when I graduated from college. And you had to use 'Backstage' because all of the auditions were listed there. Most people didn't come with agents, so you got to see a lot of what was auditioning and when and where. 'Backstage' made sure you knew the major places.
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Our joy was to do theater. And in some theaters, the only pay we got was tokens for carfare.
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Look at Michelle Obama. Everyone keeps making a big deal about her arms being exposed, but don't get it twisted: her arms are out for a reason. Black women have had those arms forever - lifting, picking cotton, toting and carrying babies.
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Woodie King Jr., in 1970, had started a company called the New Federal Theatre, which was ensconced at the Henry Street Settlement. I did a number of plays there, and I auditioned each time. The plays were mostly new. New York was very fertile ground; there was a plethora of African-American plays being done.
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I don't think you can ease yourself into theater. I just thrust myself into it.
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I have not tried for a career that's showy. I have always tried to layer things in and not push it. I love an underperformance, where you're so entrenched in who that person is that you're living in it.
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I'm always in awe at how fast television is and how quickly you're called upon to be 100 percent invested in a character with the lines.
