Transcript: Rebecca Caine | Mar 29, 1998

(Rhythmic string and wind music plays)

In animation, a word in pink slides by against a gray background as hands paint strokes using paintbrushes, play a piano, and touch as in a ballet performance.

The title of the show reads “Dialogue.”

The title of the episode pops up against an image of Richard Ouzounian and a guest, sitting on armchairs in a dark television studio: “Rebecca Caine. Soprano.”

Then, Richard appears facing the screen. He's in his late forties, clean-shaven, with short side-parted blond hair. He's wearing rounded glasses, a blue suit, white shirt, and striped blue tie.

He says WELCOME TO
DIALOGUE.
I'M RICHARD OUZOUNIAN.
WHETHER YOU'RE TALKING ABOUT
A STAGE WHERE THEY HEAR THE
MUSIC OF THE NIGHT, OR MUSIC
FROM THE QUEEN OF THE NIGHT,
YOU'RE ABOUT TO MEET SOMEONE
WHO IS EQUALLY IN CONTROL.
SHE'S A MUSICAL COMEDY STAR,
SHE'S AN OPERA STAR,
SHE'S AN AMAZING
PERSON TO TALK TO.
THIS
DIALOGUE
IS
WITH REBECCA CAINE.

Rebecca is in her late thirties, with long wavy chestnut hair. She’s wearing a denim button-up dress with see-trough sleeves, a purple fur scarf, a black mini-skirt, and black leather knee-high boots.
She’s wearing

Richard continues SO REBECCA, AS USUAL, I WANT
TO GET TOTAL DISCLOSURE
OUT OF WAY.
WE DID WORK TOGETHER ABOUT,
SOMEONE SAID, SEVERAL
LIFETIMES AGO WHEN YOU WERE
THE FIRST CHRISTINE DAAE IN
PHANTOM OF THE OPERA
HERE IN TORONTO.
BUT THAT'S THE PAST, AND WE
ALWAYS SAVE THE PAST 'TIL
LATER, WHEN YOU
ARE MORE RELAXED.
THE PRESENT IS YOU ARE WITH
THE CANADIAN OPERA COMPANY IN
THE CUNNING LITTLE VIXEN.
NOW, PEOPLE WHO HAVE SEEN YOU
AS CHRISTINE DAAE ALWAYS KNEW
YOU HAD A GREAT VOICE, BUT
THEY'RE AMAZING TO HEAR YOU
ARE PLAYING ALL OF THESE,
WELL, LET'S BE FRANK, BIZARRE
ROLES, LIKE LULU AND
THE VIXEN AND THAT.
WHAT DRIVES YOU TO PLAY
THE CRAZIER LADIES?

A caption appears on screen. It reads "Rebecca Caine. Soprano."

Rebecca says WELL, THOSE ARE THE SLINKIES.
THE LULU, AND I DID A
ROLE CALLED JULIET,
WHO WAS A VERY EROTIC SIREN.
AND I THINK IT'S BECAUSE
MY LIGAMENTS ARE TOO LONG.
I'M HYPER MOBILE.

She waves her arms around and continues
SO I KIND OF MOVE LIKE I'M A
PUPPET THAT HAS THE STRINGS CUT.
I COME AROUND CORNERS IN
SECTIONS, SO I THINK IT'S JUST
A SIMPLE FREAK OF NATURE
THAT I SEEM TO HAVE A LOT OF
SUCCESS IN THE SLINKY ROLES.
BUT I ALSO DO VIRGINS STILL.

Richard says RIGHT.
YOU DO PAMINA.

Rebecca says YES, I DO.
MAYBE STRETCHING THE
IMAGINATION, BUT I DO SOME
OF THOSE.
ALTHOUGH I NOTICED RECENTLY,
I WAS DOING MY FIRST
MARGUERITE, AND IN THE
BEGINNING SHE'S SUPPOSED TO
BE RUNNING AROUND, AND THE TENOR
IS WATCHING HER, AND I ALWAYS
FELT THAT THE WAY I MOVED
WAS NATURALLY YOUNG
BECAUSE I WAS YOUNG.
AND I'M STILL YOUNG, BUT I'M
NOT AS YOUNG AS I USED TO BE.
AND MY NATURAL BODY LANGUAGE
IS NOW KIND OF, WHY ARE YOU
FOLLOWING ME?
AND IT WASN'T UNTIL THE
DIRECTOR PICKED IT UP AND
SAID, DARLING, TRY AND
REMEMBER, YOU KNOW, 18.
I THOUGHT, OH, YES, I HAVE TO
MOVE LIKE A YOUNGSTER AGAIN.
STRANGE, ISN'T IT?

Richard says TYRONE GUTHRIE ONCE HAD TO
SAY TO A CHORUS, 'LADIES,
A BIT MORE VIRGINITY, PLEASE'.
NOW, IN
THE CUNNING LITTLE
VIXEN, FOR OUR VIEWERS WHO
AREN'T FAMILIAR WITH THE
OPERA, IT'S NOT ABOUT, AS MANY
PEOPLE MIGHT THINK, THIS
WINSOME LITTLE SOUBRETTE
BECAUSE THE AD CAMPAIGN
HAS YOU LOOKING --

Rebecca says PEERING.

Richard says PEERING OUT.

Rebecca says OF THE BUSHES OF MY
LOCAL PARK, IN FACT.

Richard says BUT, ACTUALLY, YOU ARE
THE ANIMAL, THE VIXEN.
IN FACT, MOST OF THE PEOPLE
IN THE PLAY ARE ANIMALS.

Rebecca says YES, THEY ARE.

Richard says WHAT DOES THAT DO TO YOU?
DID YOU FEEL YOU WERE A
REFUGEE FROM
CATS
ONLY WITH A GOOD SCORE?

Rebecca says I WAS WORRIED ABOUT THAT.
I WAS WORRIED ABOUT THAT.
UM...
NO, I DON'T BECAUSE THERE'S A
CHARACTER TO PLAY IN THERE.
IT'S NOT REALLY JUST A
STORY ABOUT A LITTLE FOX.
IT'S A STORY ABOUT
A LITTLE GIRL.
I FIND IT VERY INTERESTING
DOING IT IN SENDAK'S DESIGNS
BECAUSE I ALMOST FEEL LIKE
A FEMALE MAX, ONLY MAX DOESN'T
DEVELOP AS MUCH AS
THE VIXEN DOES.
IT'S ABOUT A YOUNG GIRL, AND
SHE'S THROWN OUT ON HER OWN,
AND SHE HAS TO DEAL WITH
SITUATIONS AT A VERY YOUNG
AGE, BEING ADOPTED
BY THE WOOD KEEPER.
AND SHE ROUSES THE CHICKENS
UP TO REVOLT, AND THEN KILLS
THEM ALL, AND MAKES HER
ESCAPE, AND FINDS ANOTHER
FOX, AND DOESN'T WANT TO GIVE
UP HER INDEPENDENCE BECAUSE
SHE LOVES IT SO MUCH,
AND THEN, SHE DIES.
BECAUSE THAT'S NATURE.
AND SHE HAD BABIES.
LOTS, LOTS, LOTS OF BABY.
SHE CAN'T REMEMBER
HOW MANY BABIES.
AND THEN SHE'S DEFENDING
HER PUPPIES, CUBS,
AND SHE GETS SHOT.
BUT HER OWN LITTLE BABIES
ARE STILL GOING EVERYWHERE.
SO IT'S THE ECO OPERA.

Richard says THAT'S VERY GOOD.
I WAS SITTING THERE LAST
NIGHT, AND ONE PART OF ME
SAID, THIS IS CHARMING, IT'S
A LOVELY LITTLE FAIRY TALE.

Rebecca says THERE'S MORE TO IT THAN THAT.

Richard says IN A WAY, AND I HOPE YOU
DON'T THINK THIS IS TRIVIAL,
THE WAY THAT
BAMBI
STRIKES
SOME INTENSE CHORDS.
WHEN THE GUNSHOTS GO OFF IN
VIXEN, AND PEOPLE DIE, IT HAS
THAT SAME FEELING THAT YOU TAP
INTO SOMETHING A LOT DEEPER.
YES.
AND WHEN YOU ARE FINALLY SHOT,
I HOPE I WON'T GIVE THIS AWAY
FOR PEOPLE, YOU THINK
YOU'RE GOING TO ESCAPE.
YOU'RE LAUGHING, YOU'RE
JOKING, YOU'RE RUNNING AROUND --

Rebecca says I'M RUNNING
TOWARDS THE BABIES.

Richard says AND YOU THINK YOU'RE SAFE.
RIGHT, AND YOU THINK YOU ARE
SAFE, AND IT'S THAT LAST.

Rebecca says BANG.

Richard says IT'S LIKE MERCUTIO GETTING
STABBED ACCIDENTALLY UNDER THE
ARM IN
ROMEO AND JULIET.

Rebecca says BUT LIFE AND DEATH CAN
BE THAT QUICK, YOU KNOW?
THAT'S IT.

Richard says THE ROLE IS CHALLENGING
BECAUSE NOT ONLY ARE YOU GOING
THROUGH ALL THESE MOVES AND
EMOTIONS, BUT THE STAGE,
YOU ELUDED TO, IT'S
MAURICE SENDAK.

Rebecca says BRINGS A NEW MEANING TO
THE TERM GRASSY KNOLL.

Richard laughs and says
BUT THERE'S MORE
THAN ONE GUNMAN HERE.
THERE'S SENDAK WHO
DESIGNED IT, AND CORSARO
WHO MAKES YOU RUN
ALL OVER IT, RIGHT?

Rebecca says YES.

Richard says IT LOOKED TO ME LIKE A
MOUNTAIN GOAT'S LAIR.
AND I SAT THERE, THE CRITICAL
PART OF MY BRAIN GOING,
THOSE POOR SINGERS.
HOW ARE THEY
JUMPING UP AND DOWN?
IT LOOKED BEAUTIFUL.
BUT IS IT DIFFICULT TO TRY TO
GET BALANCE AND GET CENTRED
AND BE ABLE TO DO GOOD
PROJECTION WITH ALL
THOSE LEVELS?

Rebecca says YEAH.
IT'S SOMETHING I'M VERY
INTERESTED IN TALKING ABOUT
AND THINKING ABOUT BECAUSE
IT'S SOMETHING I'D LIKE TO DO
YEARS AWAY, I HOPE, WHEN I
RETIRE, IS TO WORK WITH YOUNG
SINGERS ON MOVEMENT.
I'VE BECOME, SINCE I'VE
LEFT TORONTO, GREAT YOGA
PRACTITIONER.
LOVE IT.
AND I FEEL THAT PRETTY MUCH,
YOU SHOULD BE ABLE TO SING IN
ALMOST ANY POSITION, AS LONG
AS YOU'VE GOT THE ENERGY GOING
DOWN INTO THE GROUND, AND
EVERYTHING FROM HERE UP
GOING UP.
AS LONG AS YOU'VE GOT
ENOUGH SPACE IN HERE.

Richard says RIGHT.

Rebecca says SO I LOOK AT THINGS LIKE
VIXEN AS A CHALLENGE TO --
OBVIOUSLY, THE
MUSIC COMES FIRST.
IF IN ANY WAY I THINK THE TONE
OR THE QUALITY OF THE VOICE
IS GOING TO BE HARMED, THEN
I'M GOING TO NOT TRY AND DO
THE MOVEMENT.
BUT, YOU KNOW, IT'S WONDERFUL
TO BE ABLE TO SHOW AS MUCH
WITH YOUR BODY, AS WITH YOUR
VOICE, WHAT YOU ARE SAYING,
YOU KNOW?

Richard says IN FACT, SOME OF THE GREAT
MOMENTS IN VIXEN, NOT TO
UNDERMINE YOUR SINGING BECAUSE
THE SINGING IS EVERY BIT AS
PURE AS IT USED TO BE, BUT
IT'S EVEN STRONGER THAN IT WAS
IN THE PAST.

Rebecca says IT'S A FEW YEARS LATER.

Richard says BUT IT'S GREAT.
BUT SOME GREAT MOMENTS ARE
WHEN YOU ARE NOT SINGING.
WHEN YOU AND THE HUNTER
SEE THE SUNRISE TOGETHER.

Rebecca says OH, ISN'T THAT BEAUTIFUL?
THAT'S SOME OF THE MOST
BEAUTIFUL MUSIC IN THE OPERA.

Richard says IT'S EXQUISITE.

Rebecca says AND THE VIXEN'S
DREAM, AS WELL.
NOBODY IS SINGING, AND
IT'S JUST FANTASTIC.

Richard says NO ONE IS SINGING, BUT
YOUR FACE AND BODY AND YOUR
GESTURES CARRY IT ALL.
NOW, AGAIN, PEOPLE ALWAYS LIKE
TO SAY, SOPRANOS CAN'T ACT.
YOU KNOW, THERE'S BAD
SOPRANO JOKES EVERYWHERE.
HOW DO YOU GET TO THOSE
MOMENTS WITH NO TEXT TO
SUPPORT YOU, AND YOU'RE NOT
SINGING, BUT YET YOU ARE
THERE, AND YOU'RE
ACTING FULL THROTTLE?

Rebecca says THAT MOMENT IN PARTICULAR,
YOU JUST LET WHAT'S HAPPENING
TO HER RUN THROUGH YOUR HEAD,
AND THEN IT JUST GOES INTO
YOUR BODY, AND YOU
ALSO FEEL THE MUSIC.
I MEAN, IT'S NOT LIKE ACTING,
STRAIGHT ACTING WHEN YOU ARE
ABSOLUTELY OUT THERE, AND
YOU ARE MAKING YOUR OWN
SENSE OF TIME.
IT'S NOT BALLET, AND I GET
VERY SCARED IF I GET A REVIEW
SAYING TOO BALLETIC BECAUSE
I WANT IT TO LOOK REAL
AND GROUNDED.
SO YOU JUST KIND OF, YOU JUST
GO WITH THE MOMENT, AND YOU
HAVE THOSE FEELINGS AS SHE'S
HAVING THEM OF BEING, MY GOD,
WOULDN'T IT BE
WONDERFUL TO BE A WOMAN.

She shuts her eyes and throws her arms in the air dramatically.

She says
YOU JUST LET IT
COME OUT OF YOU.

Richard says DO YOU FIND THAT WHAT'S
HAPPENING OFF STAGE, AND IN
YOUR LIFE, AS WELL,
IMPACTS ON YOU?
I MEAN, I'M THINKING OF THE
FACT RECENTLY YOUR FATHER
PASSED AWAY.
A TERRIBLE TIME FOR YOU, WHILE
YOU'RE PREPARING THIS OPERA.
AND YET, THE OPERA IS ALL
ABOUT DEATH AND REBIRTH.
WHAT DO YOU DO?

Rebecca says WELL, I CHOSE, OBVIOUSLY,
FIRST OF ALL, MY VERY WONDERFUL
SCOTTISH SINGING TEACHER RANG
ME UP AND SAID, OH, WELL
DARLING, SOUNDS LIKE A BAD
BRIGADOON
CAST MEMBER, BUT HE
SAID YOU COULD BE WORKING ON
RIGOLETTO
OR, YOU KNOW, ANY
OTHER, YOU KNOW,
FATHER-DAUGHTER TERRIFYING
EMOTIONAL THINGS.
HE SAID, YOU COULDN'T BE
WORKING ON A BETTER OPERA.
AND HE'S RIGHT, I COULDN'T
BE BECAUSE IT IS ABOUT
THE LIFE CYCLE.
BUT VOICE IS EMOTION, AND WHEN
YOU ARE FULL OF TEARS,
AND SADNESS, TO SOMETIMES
LET YOUR VOICE GO CAN BE A
VERY SCARY THING.
SO I THINK LAST NIGHT, I JUST
THOUGHT, I HAD TO DO IT FOR
DAD BECAUSE, APART FROM
ANYTHING ELSE, THE BEAUTIFUL
SET AND EVERYTHING REMINDS ME
OF THE ADIRONDACKS WHERE MY
FOLKS HAVE A BEAUTIFUL SPREAD,
AND WE'VE HAD IT FOR NEARLY
30 YEARS, WHICH FOR US IS
LONG BECAUSE WE'VE ALL
TRAVELLED ALL THE TIME,
AND WE STILL DO LIVE
IN DIFFERENT COUNTRIES.
SO TO HAVE ROOTS THERE, AND
THE HUNTSMAN AT THE END,
IT'S LIKE DADDY WALKING
THROUGH A FOREST.
IT'S LOVELY.

Richard says REBECCA THE CHAMELEON,
YOU TOUCHED ON THAT.
BECAUSE WHEN I FIRST HEARD
THIS CANADIAN WAS GOING TO
PLAY CHRISTINE DAAE, I SAID,
WELL, YES, BUT I'VE HEARD OF
HER IN ENGLAND ALL ALONG.
WHAT DO YOU MEAN
SHE'S CANADIAN?
AND THEY SAID, NO, NO, NO,
SHE'S FROM HERE ORIGINALLY.
AND YOU HAD TO MOVE AND CHANGE
AN AWFUL LOT, DIDN'T YOU,
IN YOUR EARLY YEARS?

Rebecca says IT'S FUNNY.
MY FATHER HAD TO GO BACK INTO
HOSPITAL, HAVE AN OPERATION,
AND I DROVE DOWN IN A TAXI
DOWN TO THE REHEARSAL ROOM.
AND HAD TO DO A REHEARSAL NOT
KNOWING IF HE WAS ALIVE OR DEAD.
AND IT WAS TERRIFYING.
AND I GOT OUT OF THE TAXI, AND
AS I GOT OUT OF THE TAXI, THE
TAXI DRIVER, WHO HIMSELF WAS
FIRST GENERATION CANADIAN, I'D
SAY, JUST IMMIGRATED, HE SAID
TO ME, WHERE ARE YOU FROM?
AND PEOPLE ASK ME THAT
ON ALMOST A DAILY BASIS.
AND I DON'T REALLY
HAVE AN ANSWER ANYMORE.
I DID AN ARTICLE FOR
THE
GLOBE AND MAIL
THE OTHER DAY,
AND THERE WAS A BIG STRESS
FROM THE EDITOR, WHERE DOES
SHE THINK SHE COMES FROM?
WHAT IS HER PASSPORT?
PEOPLE HAVE THIS
KNOWLEDGE TO KNOW.
I CAN'T REALLY TELL YOU.
I KNOW WHEREVER I AM, PEOPLE
THINK I'M FROM SOMEWHERE ELSE.

Richard says THE AMERICAN PART OF THE
EQUATION, DOES THAT ENTER
IN AT ALL?
BECAUSE YOU WERE BORN IN
CANADA, DID A LOT IN ENGLAND,
BUT YOU LIVED IN THE
STATES FOR A WHILE.

Rebecca says I HAD MY CHILDHOOD IN THE
STATES, IN BALTIMORE
AND AT PRINCETON.

Richard says WHAT HAS THAT DONE?
OF THE THREE COUNTRIES, IT'S
THE ONE, THE TALE OF THREE
REBECCAS, IT'S THE
ONE I SEE THE LEAST.

Rebecca says FUNNY BECAUSE THAT WAS
THE SCHOOL ONE, YOU KNOW?
THE HIGH SCHOOL ONE AND, YOU
KNOW, THE '70s, AND YOU KNOW?

Richard says HAVE YOU REPRESSED THAT?
HAVE YOU MADE AN EFFORT
TO REPRESS THAT?

Rebecca says THE '70s?
HAVEN'T WE ALL?

Richard says NO, I MEANT TO BE A YANK.

Rebecca says TO BE A YANK?
WELL, I THINK THE BRITISH
SLAPPED IT OUT OF ME THE
SOONER I ARRIVED IN
ENGLAND WHEN I WAS 16.
I REMEMBER WALKING INTO
COLLEGE AND SAYING, I NEED
THE STUFF FOR MY CLASS.
AND, OF COURSE, THEIR
INTERPRETATION OF 'STUFF' IS
SOMEWHAT DIFFERENT FROM
MINE WAS AT THE TIME.
AND, YOU KNOW, THEY'D SAY,
HOWDY, AND THINGS LIKE THAT.
THESE WERE THE DAYS BEFORE
THEY EVEN HAD HOLIDAYS WHEN
THEY WENT TO FLORIDA.
IF THEY WENT AWAY,
THEY WENT TO SPAIN.
SO ALL THEY SAW WAS
STARSKY and HUTCH
AND WESTERNS.
AND THE THING THAT REALLY MADE
ME PISSED OFF WAS THE FACT
THEY TREATED ME AS IF I CAME
FROM A THIRD WORLD COUNTRY,
AND THAT I HAD NO CULTURE.
AND I FELT I WAS IN A
THIRD WORLD COUNTRY.
THE FOOD WAS GHASTLY,
AND YOU COULDN'T GET
ANY NICE SHAMPOO.
IT WAS AWFUL,
IT WAS AWFUL.
SO I FELT VERY OUT
OF TOUCH THERE.
AND FOUR YEARS LATER, I WAS
TRYING TO DO ELIZA DOOLITTLE
ON NATIONAL TOUR, YOU KNOW,
WITH THAT ACCENT NOT REALLY --
I'M SURE IT'S THE REASON
I'M USELESS AT ACCENTS.

Richard says NOW, YOU RAISED A GOOD POINT.
WHEN YOU DID THIS ELIZA
DOOLITTLE AT A VERY,
VERY YOUNG AGE, ALAN J.
LERNER WAS AROUND.

Rebecca says HE DIRECTED IT.

Richard says FINAL YEARS OF HIS LIFE.
WERE YOU CATCHING HIM, DID YOU
SEE GLIMPSES OF THE GREATNESS
THAT HE HAD?

Rebecca says NO, BUT THEN I'M RATHER OF
THE BELIEF THAT A WRITER
SHOULDN'T DIRECT HIS OWN WORK.

Richard says I'LL HOLD YOU TO IT.

Rebecca says I KNOW, I KNOW.
AND I THINK IF YOU READ ANY OF
ALAN'S BOOKS, BETWEEN HIM AND
REX HARRISON, WHAT WAS THE
QUOTE, THEY SUPPORTED MORE
WOMEN THAN PLAYTEX.
HIS ATTITUDE TO WOMEN
WAS SOMEWHAT STONE AGE.
HE WOULD PUT HIS ARM AROUND
ME AND WHISPER THE NOTE, THEN
SEND ME OUT ONTO THE STAGE AND
DO IT, AND HE'D GO, JUST TAP
ME ON THE BOTTOM, EVERY TIME.
AND I WAS ONLY 20, 21, BUT
STILL, THERE WAS THIS...
JULIE ANDREWS WROTE SHE HAD
A TERRIBLE TIME WHEN THEY
FIRST DID IT.
THEY WOULD GIVE
HER LINE READINGS.
CERTAINLY IN THE BIG SCENE,
HOW KIND OF YOU TO LET ME COME.
THEY JUST SAT ME DOWN AND
TAUGHT IT TO ME LIKE I DIDN'T
HAVE A BRAIN.
A LOT OF IT.
THIS IS WHAT'S HAPPENED, THIS
IS HOW WE'VE ALWAYS DONE IT.
AND WHO WAS I TO ARGUE?
I WAS 20, 21 YEARS OLD, AND
THRILLED TO BE DOING IT.

Richard says BUT THEN, FROM THERE ON, YOU
DID BOUNCE BACK AND FORTH,
AND YOU DID OPERA MUSICALS,
OPERA MUSICALS, KIND OF THIS
TUG OF WAR GOING ON WITH YOU.
WERE YOU FAVOURING
ONE AT THE BEGINNING?
OR DID YOU WANT TO BE A
MUSICAL THEATRE STAR?

Rebecca says I DESPERATELY WANTED
TO BE AN OPERA SINGER.

Richard says YOU DID?

Rebecca says YES.
I WAS DOING YOGA THE OTHER
DAY, AND PLAYING
TURANDOT
AND MY FATHER TOOK ME TO
SEE
TURANDOT
AT THE MET
WHEN I WAS SIX.
AND I SAW BIRGIT NILSSON
AND FRANCO CORELLI,
AND I REMEMBER IT
JUST LIKE THAT.
JUST SHOWS YOU CAN TAKE KIDS
TO SEE THE MOST EXTRAORDINARY
THINGS AND HOOK THEM.
OF COURSE, WE DIDN'T HAVE
TELLY IN THOSE DAYS.
AND THAT'S REALLY --
WAS THAT THE QUESTION?
WHEN I DECIDED TO DO IT?

Richard says WAS IT OPERA OR
MUSICAL THEATRE.

Rebecca says NO, I DIDN'T REALLY
HEAR ANY MUSICAL THEATRE.
MY MOTHER TOOK ME TO SEE
OLIVER
IN ENGLAND WHEN I WAS
VERY SMALL, AND I DON'T
REMEMBER IT, BUT APPARENTLY
I JUMPED TO MY FEET AT THE END,
BURST INTO TEARS AND SCREAMED
“MORE BOYS!” AS THE
CURTAIN CALL WENT IN.
I DON'T REMEMBER THAT.
BUT I REMEMBER MY BEST
FRIEND FROM HIGH SCHOOL, MIDDLE
SCHOOL, PLAYING ME
WEST
SIDE STORY
AND THAT GOT ME.
BECAUSE THAT WAS REALLY,
REALLY GOOD MUSIC.
AND THAT WAS, OF COURSE,
ALWAYS MY DESIRE TO SING
THAT ROLE.
IT'S TOO LATE NOW.
I'D LIKE TO RECORD
IT, I SUPPOSE.
THEN I WANTED TO
BE AN OPERA SINGER.
AND THE ONLY REASON I BECAME
A MUSICAL THEATRE SINGER,
REALLY, IS BECAUSE I WAS
THROWN OUT OF MUSIC SCHOOL AT
SUCH A YOUNG AGE, THAT I HAD
NO CHOICE BUT TO GO AND TRY
AND EARN A LIVING
DOING WHAT I DID.

Richard says YOU SAID THROWN
OUT OF MUSIC SCHOOL.

Rebecca says YES.
AND I'M NOT SURPRISED NOW,
WITH ALL RESPECT TO THE
GUILDHALL SCHOOL
OF MUSIC AND DRAMA.
I HAD MY FIRST BOYFRIEND.
I WAS VERY YOUNG WHEN I WENT.
I WAS 17.
I WASN'T THAT INTERESTED, AND
I SLIPPED THROUGH THE CRACKS.
THEY DIDN'T RATE ME AT ALL.
THEY WEREN'T INTERESTED IN ME.
I DIDN'T GET SENT
TO GOOD TEACHERS.
NOBODY ENCOURAGED ME.
I ALSO THOUGHT BECAUSE IT WAS
A MUSIC AND DRAMA SCHOOL,
IT WAS THE ONLY SCHOOL I
AUDITIONED FOR, THAT IT WOULD
BE ELECTIVE, AND I COULD DO
A LITTLE BIT OF FENCING,
A LITTLE BIT OF ACTING, AND
I COULD GET SOME SORT OF
WONDERFUL ALL ROUND STAGE
COURSE, THEATRE SINGING COURSE.
BUT OH, NO, NO, NO.

Richard says IT'S INTERESTING.
THERE'S TWO SCHOOLS OF THOUGHT
NOW, AND I'D LIKE TO KNOW
WHAT YOU THINK.
IS THAT CHILDREN WHO HAVE A
BENT TO BE ACTORS, SINGERS,
MUSICIANS, WHATEVER, SHOULD
PLOUGH AHEAD AND DO IT RIGHT
AWAY, AND OTHER PEOPLE SAY,
STOP, HAVE A NORMAL YOUTH,
GO TO A LIBERAL ARTS COLLEGE.
LEARN ABOUT HISTORY AND
ENGLISH, AND COME BACK IN WHEN
YOU'RE 22, AND WHEN YOU ARE
MATURE AND CAN GO TO THE
PERFORMANCE SCHOOL.

Rebecca says YOU'RE TALKING ABOUT
SENDING YOUNGER KIDS OFF
TO PERFORMANCE SCHOOLS?

Richard says YEAH.
WOULD YOU DO IT AGAIN?
WOULD YOU, AT 17, GO?

Rebecca says BUT I DIDN'T THINK.
I THOUGHT I WAS
GOING TO COLLEGE.

Richard says BUT YOU WEREN'T, REALLY.
YOU WERE GOING TO
THEATRE AND MUSIC SCHOOL.

Rebecca says I SUPPOSE I WAS.
NO, I WOULD GO AND HAVE A
NORMAL HIGH SCHOOL EDUCATION,
AND GO TO COLLEGE, STUDY YOUR
THING AT COLLEGE, AND ALWAYS
DO AS MUCH AMDRAM AND ALL THE
KIDS THAT ARE IN VIXEN WITH
US, ALL ENJOY IT.
EVEN IF YOU END UP NOT
DOING IT, ENJOY IT.
AND YOU WILL GET
SOMETHING FROM IT.
YOU WILL GET GRACE, YOU
WILL GET DISCIPLINE.
IT'S A WONDERFUL THING
FOR KIDS, I THINK.

Richard says SO THERE YOU ARE IN ENGLAND.
YOU'VE BEEN DOING
MY FAIR
LADY
KICKING AROUND, DOING
SOME STUFF, AND SOMEHOW, YOU
WIND UP IN LONDON, THE SIREN
CALL OF CAMERON MACINTOSH, AND
THE REALLY USEFUL GROUP, AND
THE PHANTOM OF THE OPERA.
AND YOU WIND UP ACTUALLY
PLAYING CHRISTINE DAAE THERE
FOR A WHILE THERE, RIGHT?
HOW DID IT COME ABOUT, THIS
MOMENT THAT HAS ULTIMATELY
BROUGHT YOU
SITTING HERE TODAY?

Rebecca says GOD, IT'S ALL SO STRANGE, BUT
FOR LITTLE SIMPLE MOVEMENTS
AND IT NEVER WOULD
HAVE HAPPENED.
I WAS JUST THROWN OUT OF MUSIC
SCHOOL, AND I WAS WORKING
WITH A VERY SMALL
FRINGE OPERA COMPANY.
AND MY SINGING TEACHER AT THE
TIME'S AGENT RANG UP AND SAID,
THERE WAS AN OPEN CATTLE CALL
FOR LAURIE IN
OKLAHOMA.
AND I DIDN'T EVEN HAVE AN
EQUITY CARD, A FULL EQUITY
CARD, WHICH YOU NEEDED
TO WORK IN THE WEST END
IN THOSE DAYS.
SO I WENT OFF THINKING VERY
GOOD EXPERIENCE, STRAIGHT OUT
OF COLLEGE, I'LL GO ALONG AND
TRY OUT FOR A LEADING LADY.
AND BLOW ME DOWN, I GOT IT.
SO THERE I WAS, ALL IN
BLUE GINGHAM, STARRING
IN THE WEST END.
I USED TO GO AND SIT IN
AUNT ELLA'S ROCKING CHAIR
AND JUST THINK
'THIS WAS EASY'.
AND THAT CAME OFF, AND CAMERON
PUT ME INTO
MY FAIR LADY.
MY THIRD JOB.
DID THAT.
BY THE END OF
MY FAIR LADY,
I WAS VERY, VERY, VERY, VERY
BURNT OUT.
IT WAS MUCH TOO MUCH FOR ME.
YOU KNOW, PARTICULARLY
DOING A COMEDY.
MY LITTLE ADOLESCENT MIND
WOULD THINK, WELL THEY LAUGHED
HARDER THE NIGHT BEFORE.
WHAT HAVE I DONE WRONG?
AND I WAS ALWAYS
BEATING MYSELF UP.
SO I THOUGHT, YOU KNOW, TRY
GO INTO AN OPERA CHORUS,
WHICH I DID.
AND I WOULD ALWAYS BE PROMOTED
AND THEN GET A SMALL ROLE,
AND THEN A NICE LEADING ROLE.
THEN, FINALLY, I WAS GOING TO
GO TO GLYNDEBOURNE, BE IN THE
CHORUS OF GLYNDEBOURNE, WHICH
IS A VERY IMPORTANT PLACE
FOR YOUNG OPERA SINGERS, AND
I GOT A CHANCE TO DO MARIA
IN
WEST SIDE STORY.
WHICH WAS, OF COURSE, THE
MUSICAL THAT PULLED ME
TOWARDS MUSICALS.
THE ONLY ONE I'D
EVER WANTED TO DO.
AND MY THEN AGENT, WHO WAS
SUBSEQUENTLY FIRED ABOUT
SIX MONTHS LATER, JUST
TURNED IT DOWN.
SAID YOU ARE GOING
TO GLYNDEBOURNE.
THANK GOD HE DID, IN A WAY,
I'D PROBABLY BE STILL PAYING
HIM COMMISSION.
SO I WENT TO GLYNDEBOURNE,
AND WE WERE DOING IDOMENEO.
AND I WAS DOING SORT OF
GRECIAN URN, YOU KNOW, ONE
GRECIAN URN DANCING BECAUSE I
WAS, YOU KNOW, THE WIGGLY
ONE, THE SLINKY ONE, AND
TREVOR NUNN'S EYE JUST
HAPPENED TO FALL ON ME.
AND I THINK IT WAS ALSO WHEN
WE WERE DOING IMPROVISATIONS
OF OUR FAVOURITE CARTOON DOG,
AND MINE WAS SNOWY FROM
TIN TIN BECAUSE WE NEVER HAD
CARTOONS, WE DIDN'T HAVE TELLY.
IT'S PAID OFF FOR
THIS LAST ROLE.
AND HE BECKONED ME FORWARD,
AND HE SAID, MY DEAR, VERY
TREVOR, HE SAID, YOU MUST
COME AND BE IN MY MUSICAL.
AND I WENT NO.
IN THOSE DAYS, PEOPLE WERE
SAYING, YOU MUST NEVER CROSS
OVER, WHICH ALL SOUNDS LIKE
SOME SORT OF RELIGIOUS THING.
NOBODY WILL TAKE YOU SERIOUS.
WELL, I WAS STARVING.
I WAS STARVING LITERALLY.
I HAD TO DO IT.
AND IT WAS TREVOR
NUNN, FOR GOD'S SAKES.

Richard says AND IT TURNED OUT TO BE...?

Rebecca says IT WAS THE ROYAL SHAKESPEARE
COMPANY, AND IT TURNED OUT
TO BE
LES MISERABLES.
AND THEN, OF COURSE,
GLYNDEBOURNE IMMEDIATELY
THOUGHT, OH, SHE MUST HAVE
TALENT, AND BRIAN DICKIE
ASKED ME BACK FOR A SMALL ROLE.
AND FROM
PHANTOM
CAME CANADA
PHANTOM, AND FROM CANADA
PHANTOM
CAME GIVING ME MY BIG
BREAK WITH LULU AT THE COC.

Richard says NOW, WE'RE GETTING AHEAD.
WE HAVE TO BACK UP
A LITTLE BIT HERE.
WITH
LES MIS, I REMEMBER
THE FIRST TIME I MEANT YOU,
I WAS CURIOUS HOW
ALL OF IT WENT.
AND YOU USED TO TELL THESE
INCREDIBLE HORROR STORIES ABOUT
HOW WHEN IT FIRST OPENED IN
PREVIEWS, IT WAS SO LONG --

Rebecca says OH, YES.
WE CUT 45 MINUTES OUT OF IT.

Richard says AND THERE WAS ONE POINT, I
THINK, I REMEMBER YOU SAID,
JOHN CAIRD AND TREVOR NUNN HAD
TO ACTUALLY PUT CLOAKS ON,
AND RUN OUT ON STAGE TO
GIVE PEOPLE NOTES BECAUSE
THEY FORGET TO TELL THEM
SCENES WERE CUT.
DID YOU EVER THINK, AND THIS,
WE'RE NOW TALKING BACK TO
1985, '86, THAT 13 YEARS LATER
THIS THING WOULD STILL BE
SELLING OUT AROUND THE WORLD?

Rebecca says WELL, NOW IT'S BECOME SO MUCH
PART OF THE LANDSCAPE THAT I
DON'T SEE IT ANYMORE.
OCCASIONALLY, I'LL LOOK UP AT
THE PALACE, AND I'LL SEE THE
LITTLE FACE OF COSETTE, AND
I'LL THINK WITH GREAT PRIDE,
THAT'S MY CHARACTER BECAUSE MY
CHARACTER WAS THAT CHARACTER
WHEN SHE GREW UP.
AND, YOU KNOW, ENORMOUS PRIDE
BECAUSE I DO ACTUALLY THINK
OF ALL THE MUSICALS IN THE
'80s, I FELT
LES MIS
HAD THE
MOST SUBSTANCE.
THAT'S NOT SAYING A
LOT, REALLY, IS IT?
MOVING SWIFTLY ON...
BUT
LES MIS, REALLY... AND
ALSO EVERYBODY HATED IT.
YOU KNOW, WE WERE ABSOLUTELY
SLAMMED WHEN WE OPENED.
SO WE WERE SORT A
BIT THE UNDERDOG,
BUT ME AND MY GIRL
WON ALL THE AWARDS.

Richard says YOU NEVER THOUGHT IT'D HAVE
LASTED AND BEEN SO IMPORTANT.

Rebecca says NO.
IT WAS THE WONDERFUL FEW
YEARS WE BEGAN TO SEE THE
DIFFERENT CASTS.
AND I REMEMBER SEEING THE
DIFFERENT ASIAN CASTS.
AND THEY WERE ALL PERFECT.
YOU KNOW, BUT ANOTHER CULTURE
WAS -- SO IT'S LOVELY.
AND FOR YEARS, THEY OFTEN CAST
PEOPLE WHO LOOK LIKE ME WHO HAD
BIG DARK EYES AND LARGE NOSE,
AND WAVED THEIR HANDS A LOT.
AND SO IT'S WEIRD
SEEING ONE'S SELF CLONED.
BECAUSE THEN YOU GET DOWN TO
THE WHOLE CORPORATE THEATRE
THING, AND THAT BECOMES
A LITTLE CREEPY.

Richard says WE'LL CREEP TOWARD THAT, IN
FACT BECAUSE YOU WOUND UP
ON THE NEXT END OF IT.
YOU CAME INTO PHANTOM IN
LONDON, NOT, AS OF COURSE,
THE ORIGINAL, WHICH WAS Ms.
BRIGHTMAN, BUT YOU CAME
IN A LITTLE FURTHER
DOWN THE LINE.

Rebecca says I DID.
I WAS THE SECOND ALTERNATE.

Richard says AND IT WASN'T A HAPPY TIME
AT FIRST THERE, WAS IT?

Rebecca says NO, I WAS ABSOLUTELY
TORTURED BY ALL AND SUNDRY.

Richard says BECAUSE IT WAS CORPORATE?

Rebecca says IT WASN'T CORPORATE IN THIS
CASE, I WOULD SAY, IT WAS
BECAUSE ANDREW HAD WRITTEN
THE ROLE FOR HIS WIFE.
HE WAS TORTURED BY THE FACT
HE WANTED IT TO BE WONDERFUL,
BUT HE ALSO DIDN'T WANT
ANYBODY BETTER THAN HIS WIFE.
SO ANY OTHER GIRL,
PARTICULARLY AT THE BEGINNING,
WAS GOING TO COME IN FOR A
ROUGH TIME BECAUSE WE WEREN'T
SARAH TO HIM, AND YET WE WERE
PLAYING THE ROLE MADE FOR SARAH.
AND I FOLLOWED IN TWO GIRLS,
SARAH, AND ANOTHER WONDERFUL
GIRL CALLED CLAIRE.
CLAIRE'S REALLY LIKE A ROCKER
VOICE, AND I'M MUCH MORE OF
AN OPERA SINGER.
AND I ALSO THINK WHEN YOU'RE
THE STAR, BUT NOT QUITE, AS
YOU ARE IN THOSE ALTERNATE
SITUATIONS, YOU ARE A TARGET
FOR ANYBODY WHO WANTS TO PLAY
A POWER GAME AND WANTS TO
GET A KICK OUT OF YOU.
SO IT'S A VERY FRAGILE AND
DIFFICULT POSITION TO BE IN.
AND I'VE BEEN IN COMPANIES
WITH ALTERNATES DOING ME,
AND I'VE SEEN THE
TROUBLE THEY'VE HAD.

Richard says BUT AFTER BEING BRUISED BY
IT IN LONDON, ONE WOULD BE
SURPRISED, BUT I GATHER IT WAS
THE GREAT PERSUASIVE POWERS
OF Mr. DRABINSKY, PERSUADED
YOU TO COME DO IT IN CANADA.

Rebecca says HE DID.
YES, HE DID.

Richard says I HEAR STORIES HE
JUST WOULDN'T SAY NO.
AND PURSUED AND PURSUED
AND PURSUED AND PURSUED.

Rebecca says YES, HE DID ALL THOSE THINGS.

Richard says SO WHAT MADE YOU
FINALLY CRUMBLE?

Rebecca says UM...
I FELT I HAD LEFT THE
PHANTOM IN LONDON.
THEY EVENTUALLY JUST, NOT
FIRED ME, BUT THEY'D NOT RENEWED
MY CONTRACT BECAUSE THEY
SAID I WASN'T GOOD ENOUGH.
AND I'D HAD A LOT OF,
YOU'RE NOT GOOD ENOUGH.
I'D HAD YOU'RE NOT
GOOD ENOUGH IN COLLEGE.
AND I'VE HAD YOU'RE NOT
GOOD ENOUGH AT PHANTOM.
AND I KNEW I WAS GOOD ENOUGH.
I MEAN, I WAS
RIGHT FOR THE ROLE.
I WAS A YOUNG OPERA SINGER.
AND I FELT THAT I WANTED
TO HAVE A GO AGAIN.
TRY AND RIDE THE
HORSE THAT THREW ME.
AND THERE WASN'T
MUCH ELSE GOING ON.
I WASN'T REALLY IN A STATE
VOCALLY TO CROSS OVER
TO DOING OPERA.
AND IT GAVE ME A WHOLE START.
SO WE DID.

Richard says AND YOU CAME OVER.
AND VERY DICKENSIAN, IT
WAS THE BEST OF TIMES,
IT WAS THE WORST OF TIMES.

Rebecca says IT WAS.

Richard says IT WAS A GALA OPENING.
I STILL RECALL THE OPENING
NIGHT WITH THE LIMOUSINES
CLOGGING UP ALL OF TORONTO.

Rebecca says TERRIBLE PRESSURE.
I REMEMBER LOOKING AT SHOPSY
SALESMAN THINKING, I WISH I
WAS YOU, I WISH I WAS YOU.

Richard says AND THE ROYAL FAMILY THERE,
AND ANDREW LLOYD-WEBBER AND
EVERYTHING.

Rebecca says WELL, PRINCE EDWARD.
DON'T GET CARRIED AWAY.

Richard says ALL RIGHT.

Rebecca says HE'S JUST AN OLD VAUDEVILLIAN
LIKE YOU AND ME, LOVE.

Richard says BUT AFTER ALL OF THAT, IT SOLD
OUT FOR MONTHS IN ADVANCE.
IT WAS THE HOT TICKET.
IT WAS WONDERFUL
TO BE IN PHANTOM.
BUT A COUPLE OF THINGS
HAPPENED, AND THE DREAM
STARTED TO SOUR A BIT.
FIRST OF ALL, YOU GOT INJURED
VERY BADLY ON STAGE.

Rebecca says YEAH, QUITE QUICKLY, I
REALLY MASHED MY KNEE UP.
AND HAD THREE YEARS -- FELT
LIKE IT, THREE MONTHS OF
PHYSIO, AND OPERATED
ON, AND THEN BACK.
IT WAS QUITE FUNNY BECAUSE IN
PHYSIO THEY HAD ME SORT OF ON
POINT WITH MY EYES SHUT,
DOING THINGS LIKE THIS.
AND EVERYBODY ELSE, WHO WAS
JUST TRYING TO GET BACK
TO NORMAL.
BECAUSE THEY HAD TO GET ME
BACK TO MY PROPER HEALTH
TO DO THE SHOW, AND NOT JUST
TO BE A NORMAL HUMAN BEING.

Richard says BUT AFTER THAT THEN YOU GOT
CAUGHT IN A BIT OF A TUG OF
WAR WITH YOUR LEADING MAN,
COLM WILKINSON, AND GARTH,
YOUR PRODUCER.
EVENTUALLY, IT HAD TO GO INTO
ARBITRATION, AND IT WAS ALL
SETTLED OUT OF
COURT AND STUFF.

Rebecca says YES.
IT WAS VERY, VERY,
VERY, VERY UNPLEASANT.

Richard says BUT DID YOU FEEL -- I GUESS
THE BOTTOM LINE, I'M NOT
INTERESTED IN WHO DID WHAT
TO WHOM, AND ALL OF THAT.

Rebecca says YOU KNOW ANYWAY.

Richard says BUT WHAT DID YOU FEEL LIKE?

Rebecca says UM...
WELL, GARTH HAD TOLD ME WHEN
HE FIRST PERSUADED ME, AND I
HAD TO BE PERSUADED TO DO
PHANTOM AGAIN BECAUSE
IT HADN'T BEEN NICE
THE FIRST TIME.
IT HAD BEEN UNPLEASANT.
AND THIS IS A
FRAGILE INSTRUMENT.
I ONLY WANTED TO DO
IT FOR GOOD THINGS.
AND HE DIDN'T
KEEP HIS PROMISE.
IT ENDED BADLY.
IT ENDED HORRIBLY.
I FELT I DIDN'T WANT TO BE
INVOLVED WITH CORPORATE
THEATRE ANYMORE.
AND I HAVE VERY STRONG IDEAS
ON THE DISNEYFICATION OF THE
WHOLE GENRE, REALLY.
WHICH IS, IT'S THE
BUCK THAT DRIVES IT.
YOU KNOW, WHEN YOU'RE
STANDING FRONT OF HOUSE,
AND SOMEBODY'S SAYING, BUT
I'VE COME ALL THE WAY FROM
SASKATCHEWAN, AND I CAN'T SEE
THE CHANDELIER, YOU THINK,
I'VE HAD ALL THESE YEARS OF
BALLET AND SINGING TRAINING --

Richard says DOESN'T THAT
COUNT FOR SOMETHING?

Rebecca says YEAH.

Richard says WHEN YOU LEFT IT, YOU DID SAY
SOMETHING, AND I REALIZE NOW
IT RESONATED ON A
COUPLE OF LEVELS.
YOU SAID, I DON'T WANT
TO BE A VICTIM ANYMORE.

Rebecca says BECAUSE WHEN YOU'RE PLAYING
A VICTIM, PEOPLE JUST THINK,
OFF STAGE.

Richard says CHRISTINE IS A VICTIM.

Rebecca says THEY TRY, THEY THINK SHE'S
A VICTIM, I CAN HAVE A GO.
AND YOU GO, NO, SORRY,
I'M NOT GOING TO TAKE THAT.
THEY RECOIL WITH EVEN MORE
HORROR BECAUSE YOU'RE NOT THE
VICTIM THEY THOUGHT YOU WERE.
AND YOU'RE JUST STANDING UP
FOR YOURSELF, AS ANYBODY WOULD.

Richard says BUT WHAT YOU WERE ABLE TO
DO BECAUSE OF PHANTOM THEN,
WAS GO INTO LULU.
BIZARRE WORK, BUT
LOTFI MANSOURI SAW YOU
AND WANTED TO GIVE
YOU THAT CHANCE.

Rebecca says ACTUALLY, IT WASN'T
LOTFI, IT WAS BRIAN DICKIE.

Richard says MY MISTAKE, SORRY.
BUT HE SAW YOU AND GAVE YOU
THE CHANCE TO GO DO THE WORK.

Rebecca says TOOK A HUGE LEAP OF FAITH.

Richard says BUT IT MADE A BIG DIFFERENCE
IN YOUR CAREER, DIDN'T IT?

Rebecca says IT MADE A HUGE DIFFERENCE TO
MY THINKING ABOUT MY CAREER,
AND MY CONFIDENCE IN MYSELF,
AND MY CONFIDENCE IN MY
INTELLIGENCE, AND IT KEPT ME
SANE SPENDING A YEAR AND A
HALF WORKING ON AN ALBAN BERG
SCORE WHEN I WAS SINGING ANDREW
LLOYD-WEBBER EVERY NIGHT.
KEPT MY BRAIN.
I LEARNED GERMAN.
AND AFTER I GOT LULU ON AND
WENT BACK IN, I BEGAN WORKING
ON MY FRENCH AND ITALIAN ROLES
BECAUSE I HAD ROLES OFFERED
TO ME AFTERWARDS.
SO ALWAYS KEPT GOING.

Richard says SO THE THING IS NOW,
THE OPERA WORLD SEEMS
TO BE YOUR OYSTER.
BUT YOU'RE FORTUNATE.
I REMEMBER YOU SAID TO ME
ONCE, ALSO, YOU'D LIKE TO DO
DIFFERENT OPERAS, CHAMBER
OPERAS, INTERESTING THINGS,
QUIRKY THINGS.
DO YOU FEEL THAT PATH
IS STILL OPEN TO YOU?
CAN YOU EXERCISE IT?

Rebecca says I THINK I HAVE DONE.
IN MY HEAD, I THINK WHAT I
WOULD REALLY LOVE TO BE IN IS
A SORT OF OPERA COMPANY THAT
HAS... YOU'RE ALWAYS WORKING
WITH A BUNCH OF REAL SINGER
ACTORS, SOME GREAT VOICES IN
THERE, BUT SOME REAL STAGE
ANIMALS, AND AS AN ENSEMBLE
WITH A BUNCH OF FANTASTIC
DIRECTORS, JUST IN-HOUSE
WORKING AWAY, AS
SINGER ACTORS.
IT'S HARD TO PUT INTO WORDS,
BUT THAT WOULD BE MY FAVOURITE
WAY OF WORKING.

Richard says AND THAT'S THE ATMOSPHERE
YOU WOULD LIKE TO CONTINUE
TO STAY IN.

Rebecca says YEAH.
AND I'VE BEEN LUCKY.
I'VE HAD QUITE A FEW
PRODUCTIONS IN WHICH HAVE BEEN
THAT WONDERFUL AND CREATIVE.
AND I FEEL NOW, I MEAN, I'VE
BEEN WORKING 17 YEARS OR SO
AND I'VE WORKED WITH
A LOT OF GOOD PEOPLE.
AND I FEEL THAT I HAVE
TOOLS TO PUT ON THE TABLE.
AND I FEEL THAT THE CHALLENGE
WITH ANY DIRECTOR WITH ME, OR
CONDUCTOR, IS TO JUST SAY,
TRY THIS, AND I'LL GO,
OKAY, I'LL TRY THIS
TOOL, YOU KNOW?
OR YOU DON'T LIKE
THAT TOOL, HOW'S THAT?
THE CHALLENGE IS CATCH ME.
YOU KNOW?
IT'S A TENNIS GAME.
THAT'S WHAT I LOVE.

Richard says WELL, I PERSONALLY, SITTING IN
THE AUDIENCE, I LOVE, AS WELL.
SO HERE WE HAVE YOU, REBECCA
CAINE, SHE MAY BE A VIXEN,
BUT I DON'T THINK YOU'LL
EVER BE A VICTIM AGAIN.
THANK YOU FOR
COMING HERE TODAY.

Rebecca says OH, RICHARD, THANK YOU.

Richard says THANK YOU.

He faces the screen and says
FOR
DIALOGUE, I'M
RICHARD OUZOUNIAN.
GOOD-BYE FOR NOW.

Music plays as the end slate reads “Dialogue.”

A production of TVOntario. Copyright 1998, The Ontario Educational Communications Authority.

Watch: Rebecca Caine