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[0:01] Teddy Kempner: Hello, my name is Teddy Kempner, and you're listening to Eleven, the Official Theatre Podcast.

[0:18] William J Connolly: Hello, and welcome to Eleven, the official theatre podcast that brings the biggest stars and creatives together in one place to discuss life in the arts. He's the acting legend that's returning to the Old Vic stage in the exquisite Girl from the North Country, as the show returns to London for a limited nine-week run, led under the genius mind of Conor McPherson. But what's it like coming back to this extraordinary piece of storytelling and to tell it to a 2025 audience? Well, let's find out as direct from the closing days of his rehearsal period, we dive into life under the directorship of Conor. The importance of placing struggle in the lives of those featured in this show, and as our guest states, why this is one of my favourite shows of all time.

We also explore some of his greatest collaborations, including working with Stephen Daldry, and why his iconic performance on Hey, Mr. Producer! with Ellen Greene from Little Shop of Horrors is a moment that he will never forget. And in a rather special look back through his career, we talk about what it's like having co-stars, stage collaborators, and friendships throughout his career, with the likes of Paul Newman, Jonathan Pryce, Stephen Sondheim, Judi Dench, Julie Andrews, Bernadette Peters, Hugh Jackman, Ben Kingsley, John Malkovich, and many, many, many more. It is the legendary Teddy Kempner. Here now on this, the next episode of Eleven, the official theatre podcast.

[1:47] William J Connolly: Please let me welcome to this, the next episode of Eleven. He is the highly respected stage actor that is helping lead the return of Girl from the North Country to London audiences as the remarkable multi Tony and Olivier award-winning show prepares to break hearts once again. So I say a very good afternoon to Mr. Teddy Kempner. Hello Teddy, how are you?

[2:07] Teddy Kempner: Hi, I'm good. Thank you.

[2:08] William J Connolly: Not so much um whatever it was you said that was very, very nice, more just old, highly respected. I much Yeah, that was it. That was the one. Yeah, but I settle for old. It's all right. But thank you so much for agreeing to do this. I genuinely really appreciate it. And particularly excited to speak to you today about one of Hand on My Heart's My All-Time Favourite Musicals. This show is extraordinary. I know you have a very tight connection to it that's not using a pun in the show, but could you just explain to me where your head's at the minute? I should say for context, this is a podcast so people can't see, but you are in rehearsals, you're in it looks like a costume cupboard hidden away, the glamour of theatre, but where's your mind at the minute knowing you're about to step into this world again?

[2:45] Teddy Kempner: Well, it's really interesting, actually, because when I was asked to do this originally, I had been planning to come and see it, but because of other work, I couldn't. And so I turned up and we began, and they sent it to me and I read it, and you know, all the usual sort of stuff. But it is fantastically in a good way, it's fantastically dense. And there are all sorts of things that I keep getting, little snippets of information from the play itself. And this is three years on from when I first started. And everybody's saying it's not just me. He's the most extraordinary writer. It's wonderful. It's witty and deep and you know, and he's a very clever man, and I just wish I was that clever. And the only to tell you the truth, the only thing that's frustrating is when you say, "Can't you what does that mean?"

And you go, "Well, no, no, what do you think?" And that's kind of the best you can get out of him. Which is but having said all that, it's just a fabulous story, just on the surface, even if there are various things that one will you know, if you don't understand at the time, it doesn't matter a damn. Great story, and obviously beautiful music, beautifully arranged. It's not Bob Dylan music show, it's just got his songs sort of atmospherically inserted and rearranged. That's lovely. It's one of my favorite shows of all time. It's just brilliant.

[4:12] William J Connolly: Me too, me too. It's so special, and I think it's one of those shows you genuinely have to experience live. In some ways, some people come to it through the cast, the two cast recordings, I believe, that there are now with New York, but yeah, people to get to sit in the space and to feel it. I feel like it's one of those shows we have to feel it all together all at the same time, consecutively, as written for the heartbreak to come at the end when you sort of do feel totally destroyed by it. So, for you, knowing that this is about to be a journey you're going to embark on again, and as you say, the three-year difference, what's it feel like for you to return to this space? And I guess does it feel any different to before?

[4:44] Teddy Kempner: Yeah, it's a slightly different cast to when I did it before, just the most wonderful group of people, partly because it's lovely to see them every day, and let's be honest, it matters, you know, and it is lovely to see everybody every day, and everybody is very, very good. You know, you every now and again, I'm gonna be brutally honest here, folks. Stand back. You turn up to something, and people may be nice or not, whatever, but also they might not be exactly what you were hoping for. It doesn't happen very often, but anyway, all I can say is that this group of people is tremendously kind and generous and tremendously good at what they do. And I'm not just saying that because you know we want you to come and see it, which of course we do, but it's wonderful. Just wonderful.

[5:26] William J Connolly: How do you navigate something then that's so led by story and in particular the emotion connected to the story? You're such a fantastic actor. Is that something that excites you? Is it slightly terrifying because if that's not there, it doesn't exist? How do you approach it head on?

[5:40] Teddy Kempner: It's very interesting. Conor wants things above all to be clear. That what I mean when I say that, I mean that everybody hears every word and therefore can follow as best they can. And it actually something I wanted to say about him is also it's a play about struggle. It's about desperate people in a desperate situation, desperately doing their best. And so, although it is sad, it is also uplifting in just sort of people's what he's written is people attempting, however, roughly, if you like, to do their best. I mean, yes, there's a thief in it, and there's like but the point is that most of the characters are genuinely doing their best in really harsh conditions, so yeah, it's very uplifting and it's very lovely to do, lovely, and it is nice to come around to it again after this time because I for myself there's more that I I've changed slightly the emphasis on what I was doing before.

I have no idea whether it's better or not, but um, it's different, you know. And no, it is good to come at it again because yeah, it's great, and of course, doing it with different people again, that may change things anyway. But um, no, it's terrific shows just wonderful.

[7:01] William J Connolly: Do you think that part of it, with it being everybody desperate, as you say, and trying and pushing forward and doing just something in order to feel like they are progressing, that they're doing something for them, or in this case, their family? Do you think that that's why it has such a connection to people? Because trying, desperation, it's varying different forms, is actually something that every single person in the world can have and probably does have a connection to?

[7:25] Teddy Kempner: Absolutely. It's about striving and when things are really bad. It's very everyday when you look at it. I mean, when you're sitting there watching it, it's just the thing of what he's written is a group of people struggling. And it and as you know, as you can tell that I'm struggling to explain it, I can't. But it's the struggle is fascinating. And that's you know, because as you say correctly, we all struggle, God knows.

[7:56] William J Connolly: How about when you then go home? Do you remember from last time? Do you have to create this is me at work, this is me not because emotion is hard to kick even when you're pretending?

[8:04] Teddy Kempner: Yes. No, to tell you the truth, I know people who do have a problem with that, but personally, I just I've been with Susanna Fellows, my finer half, for 34 years now. And we have a life together that is lovely. So you don't take the misery home with you, but because it wouldn't really be appropriate, and also because it wouldn't help you either. You know, it's you've had that experience yourself that evening, and now we've done that, and we're going home. You know what I mean? I just there are people who live with it, but I don't for me, I have seen people who sort of hurt themselves doing that really. And um, yeah, so I try not to do that.

[8:46] William J Connolly: It's interesting, isn't it? How different things connect with different people. I've been watching surprise, surprise, a lot of interviews with Audra McDonald recently where she spoke about not being able to kick rows at the end of the day. Like it's really hard. She says it keeps her awake for hours, it doesn't bother her, but it's present in her. And it's interesting how the sort of the art form plays out in different people in different ways.

[9:05] Teddy Kempner: Yes, absolutely. Absolutely. I mean, you know, you that also, I mean, that might I'm not diminishing any of that, but also, I mean, there might just be adrenaline, you know, because when you're doing it, you do get adrenalized, and it depends how long that stays with you as to whether you can go to sleep or not. But one of our number, lovely fella, he is a farmer, a genuine farmer. He has a thousand sheep, and he's doing this, and he has someone else running the farm while he's with us. But he was saying this morning he's awake at five, and he doesn't know what to do with the time. I could tell him sleep, that'd be good. But you know, it's extraordinary. It's different for everybody.

[9:43] William J Connolly: I try to imagine a cast of like 40 people or a thousand sheep, which one would be the harder one to be able to behave?

[9:48] Teddy Kempner: Probably the sheep would be better behaved.

[9:49] William J Connolly: I think so, actually.

[9:58] Teddy Kempner: You referenced him a second ago, but you have an extraordinary writer and director involved in this project. Conor is literally one of the best that there is. What's it like to get a front row seat to be able to not just explain this work to be able to live and breathe this work, but also to see a master and an artist at work in a piece that you know is good, you know when the light bulb goes on, what he's producing is correct and present? What's it like to get to experience a teacher?

[10:21] Teddy Kempner: I imagine at times at work in front of you. No, he's a man, he's wonderful. He's a very nice man, he's a very kind man. Uh, but also he will suddenly say, Oh, why don't you say, and so you add that little bit in? Things like that. I mean, not just me, everybody, of course. And uh, so that's a bit of a wonderful gift. But um, I've worked with a few people, I worked with Arnold Wesker a couple of times, and I don't know if you know his work or not, but he was a very nice man, but he was a bit difficult in the rehearsal room. That wasn't quite such a jolly experience. But Connor is a delight, and actually, yes, there are quite a few writers who sometimes they don't say a thing, uh, they just sit there, but because he's directing it as well, of course, there's quite a lot to be said. But he's terrific, he's lovely, uh, so clever and so uh generous and easy, easygoing when he's happy, and when he's not, he just tells you, and that's all you need.

[11:15] William J Connolly: That's great. I also imagine it must be great to be able to be a student to somebody that is willing to teach. And what I mean by that is that they're willing to share and work with you as a cast and ask your opinion as you say it's a two-way conversation. Like I know that you've worked with some pretty extraordinary people, particularly here of mine is Stephen Daldry, who I think is the best, and of course, you very famously worked with him back in I think '94, '95. So what was it like being a teacher of people of that caliber where you know that they are literally masters of their craft?

[11:42] Teddy Kempner: Stephen, Stephen is amazing. I did uh the kitchen, yeah. And um the Stephen is remarkable, yet again, very nice man indeed. But the in the room, you know, you are sitting with an extraordinary intellect. I mean, he's so he's such a bright guy. And sometimes he would just sit down. The kitchen, we had a car, I don't know, I can't remember what the number of the cast is, but they also had additionally, they built uh sorry, they built an industrial kitchen in the stalls of the royal court for this performance, and they added uh people who were sort of extras to be the people who were working around the kitchen, but they didn't actually have speeches or anything. Uh so there were a lot of people in the room, and there would be times when you'd look around, and Stephen would be thinking.

Now, now this is going to sound really stupid, but I'm gonna say it. He's the only person I've ever seen who you can sort of see the coach turning. It's uh when I stop and think, uh people around me would look at me and they'd think, oh Teddy, yes, yes, he's going uh you know, trying to have an idea of some sort. But when Stephen is thinking, it looks to me remarkable, it's very odd. I know it sounds peculiar, but it was a very strange experience, but wonderful. I'm you know, thrilled. Funnily enough, um, I was rehearsing something a few months ago at uh Three Mills, which is a film studio, and he was there doing something else, and we haven't seen each other probably for 30 years, and he came and said hello, was I mean, just nice man.

You know, it's not a big deal. He was directing a film at the time and uh has done little things since, like The Crown and you know, all that rubbish. Uh wonderful, wonderful stuff. And he's a very sweet guy, he's a good man.

[13:27] William J Connolly: He's hoping that directing thing takes off for him in his yeah, exactly. Yes, good luck. Could you explain for a stupid person like me, as a career actor, when you have people like the two collaborators you just mentioned, Connor and Stephen, when they are as the reference I use was being a student at their school, but when they're wanting to collaborate and be so connected to you, they're not just saying, you know, you make you find the solution, which some people prefer, that's different choices. Why does that make a difference to what we see? And what I guess, why do you think that that's enabled you to have such a great relationship with somebody like Stephen such a long period ago? Why does it change what we see?

[14:03] Teddy Kempner: That's quite difficult to explain, really. I mean, that they're terribly different people. As I say, Connor genuinely, if he if he is happy with what you're doing, he would have to be actively unhappy with what you're doing. And that's not about you know, that's not a bad thing at all. That's fine. He just wants to say something, and so he just says it. Uh, but it but mostly he doesn't tell you what to do, just occasionally he'll say, Oh no, don't do that, do this, and that's fine, absolutely fine. But he doesn't say very much. And Stephen is very much in the same vein, but it obviously I always admire people who don't say uh or don't say uh a lot, and both of them they are incredibly lucid and swift and clear, and it's just a great, it's just a wonderful thing to work with.

There are directors who tell you funnily enough. Um I did Kiss Me Kate years ago at Victoria Palace, and that was directed by Michael Blake Moore. He was a yet again, lovely man, brilliant, absolutely fine. What was interesting is it had been on Broadway first, and when it came here, what they do sometimes, and what they did here was the American uh stage manager and a few other people come over and sort of physically tell people where to stand, which I'd never experienced before. But the stage manager in New on Broadway is sort of like an assistant director. It's a slightly different job to hear, but anyway. So this guy comes over and I could see everybody's faces were a picture. He was all right, uh stand there.

Yeah, good. No, left a bit, you know, and you just think sorry, because we don't we don't work like that, you know. So that was a bit better. And then, and then of course Michael Blake more turned up, and everything was terrific because he he was everything was calm and fine, but um, different styles, different places. What the hell? I was on Broadway for five, four months, five months with Nicholas Nickleby when I was uh about uh 19 or 20 ish, and um that was the most wonderful experience. I wish I'd been older because there were things that I knew I'd have sort of taken advantage of more. But um I had a on the on the press night of that, uh uh Sardis. I don't know if you know Sardis.

[16:13] Teddy Kempner: Yeah, yeah, just for those who don't, he's a restaurant that's very theatre connected, and there was a there was a party at Sardis, right? So I went up and I sat down. That my name was on the table, and I sat down at my place, and I was sitting with uh uh uh Paul Newman and his wife, um Jason Robards, uh uh a table of that, and I can safely say I said nothing the whole evening. And I wish I'd been a bit older because I so I could have got more involved, but um it was remarkable, yeah. Extraordinary. Lauren Bacall, yeah, little, you know, little nobodies.

[16:50] William J Connolly: It's a shame you've never met anybody that's actually famous and working.

[16:51] Teddy Kempner: Exactly. You would have been such a different such a different man in here. Lauren Bacor is very, very nice. She's I mean, she's tough, but she's a nice woman. And um, I went to dinner with her with um Andy Hawkins, who was in the company, who was Jack Hawkins' son. He wanted me to go with him. This was when we were in America, and uh Lauren Bacall came and she was uh she was very nice and friendly and all that. Anyway, about years later, I'm doing a film with Lars von Trier, and she is in it, and she asked me how uh Andy Hawkins was and blah blah blah. Uh but what I love was she said to the director to Lars Bontrier, she said, So, which part of my back do you want to shoot today? Because I don't know if you know he shoots his films, you know, that the the just so people sort of know because they might not.

It's a huge studio, and towns are painted out in lines on the floor with just the suggestions of buildings. So the result is most of the time, most of the characters are in there doing whatever it was they would be doing. And that included Lauren McCall, who wanted to know what part of her back she was gonna have shot the night. A good experience.

[18:01] Teddy Kempner: I'd love to try and explain this interest to like an alien that come from another planet about painting lines on floors, and it would be very challenging to do. It would be not entirely straightforward, I agree.

[18:13] William J Connolly: My last question on amazing directors, because I was thinking through some of the extraordinary people that you have worked with, and it would be a nice uh a miss even to not mention Sam Mendes because I think Sam Mendes is a personal hero of mine. I think his work is unmatched, and of course, with your rather extraordinary production of company, to be able to have so many different pillars and different versions of directors as you've referenced, and then you add Sam into that mix as well. Is it almost like an embarrassment of riches to be able to be able to be taught in so many different ways? I guess that applies differently to you. And I guess would you mind just talking me through what your main sort of memories are at this point in your careers you look back on? While I imagine company is a rather pinnacle part of your life.

[18:50] Teddy Kempner: Company was extraordinary. It was extraordinary for several reasons, obviously because of Sam, who is remarkable and so confident, uh, and not in a bad way, people being certain of what they're saying and doing is unusual, and he's very certain generally. But having said that, I know that when he was shooting his first film, which was called you look it up, he shot for three or four days, and he wasn't happy with what he'd done, and he went to the producers and he said, I want to start again. And I don't know how much persuading they took, but if you, as you can imagine, manage quite a lot of money, and they did, and the film on Oscars, and you know, well, that was it was brilliant. I don't know, he's just remarkable.

Oh, uh other minds, the other thing about company is my twin girls were born during it. And so funnily enough, I remember all that quite clearly. And I love the fact that people still talk about it. When I I told a couple of friends of mine that I was going to be talking to you, there were two things that they brought up, one of which I'm going to mention in a second, but company was one of them because productions in so many different ways have such huge impacts. And I imagine, as much as it probably reminds you of your age, which always makes me laugh at people about the distance between something and now, it's also like most things that go in cycles, a reminder that every single day going to work can have profound impacts on people. I imagine company's probably one that people like me do mention to you rather a lot.

[20:12] Teddy Kempner: They do. And it it was on television a few weeks ago again, and uh looking at I just look so young. That's the only thing I could think. Who is that young man? But yeah, and of course, Adrian Lester was in it, who is terrific and one of the nice man. I saw him a little while ago. He came to see Cabaret uh last year when I was doing it. It was very nice to see him.

[20:30] William J Connolly: Yeah. The other part of that question, which I referenced the two things I wanted to mention to you. Speaking of a good person, when you did Kiss Me Kate, was working with Marin, and you had an extraordinary leading lady. Could I ask you now? Obviously, she's sadly no longer with us, but to be able to have memories of her to know how much this industry adored her and how her work is respected now.

[20:50] Teddy Kempner: What are your memories of working with her? Marin was uh it was extraordinary in many, many ways. She was she could sing operatically if required, but also classically musical as well. Uh, an extremely nice woman. She used to come to lunch quite a lot while we once we were up and running. Um, but what I remember one of the things is she, I think I didn't understand why at first, but she was very anxious when we started about what people were doing around her. And I think it was only because she'd had such a good experience on Broadway, she was worried that it might get sort of screwed up, which is not an unreasonable thought, with a different group of people. But it, you know, it all turned out great.

And just a nice and gifted woman. And yeah, I uh it's hard to believe. There are a few people who mattered to me who we have lost along the way, unsurprisingly. But um, she is one, and Roger Reese is another one. I was we were uh quite good friends while he lived in this country, obviously. Um, and yeah, there's nothing to say except she was very, very nice woman, very nice and obviously extremely gifted, terrific.

[22:04] William J Connolly: I'm trying to remember when was the first time that I discovered how great you were, was on the Hey, Mr. Producer performance. I think you know what I'm gonna ask. But Little Shop of Horrors performance now. I don't know if you read comments on YouTube, I think the internet can be a dangerous place. But people say this is the reason why I fell in love with theatre. Oh my god, I'm obsessed with Teddy. I obviously, of course, love Ellen as well. But what was it like getting to perform on that day in particular? I mean, I believe you performed in front of the Queen, is that right?

[22:30] Teddy Kempner: We did, we did we only did the whole show three times, and the Queen was there. I can't remember which one it was, I think the last one, I think. But um, it that there were several things about that that were amazing. The first of all, the number I tell you what, I was standing in the wings talking to um Jonathan Price, who I knew from Stratford, uh, and on his left was Stephen Sondheim, and we were standing there, and I'm looking on stage was Judy Dench. Opposite me in the wings was Julie Andrews. I mean, it was just the whole thing was like some sort of weird dream, to be honest. Really, really remarkable. I also remember now on that thing, who sang um uh Bernadette Peters. At that time, I'd never heard of Bernadette Peters.

I don't know where I'd been, but I hadn't. And when she came on to do her bit in during rehearsal, almost everybody went into the stalls to watch. And at the end of it, everybody just went completely bananas. It was so wonderful, I can't tell you. Such an extraordinary sound and you know, brain to drive the thoughts, and oh, it was wonderful, wonderful.

[23:42] Teddy Kempner: And the other thing, I was sharing a dressing room with Hugh Jackman, who I hadn't met, and uh I didn't and didn't know anything about except that he was in Oklahoma at the National at the time, but that was one of his first jobs here in this country, and I remember seeing him walk into the building, and it was very extraordinary. It's not just because he's very tall, but he walked in, and I remember whoever it was I was standing next to, I said, Who is that? And and everybody just you just look, he's very, very magnetic, nice fellow too, but yeah, but uh an unusual presence in a good way. And to top it all off, your opposite, your leading lady was, of course, one of the greatest stage actresses and singers of all time in that little shop number. What was it like getting to spend some time with the extraordinary Alan?

[24:29] Teddy Kempner: Well, it was amazing. I mean, I yeah it's funny. There are things I'd like to tell you, and I can't. I'm sorry, but I can't. But it was it was an experience. But what is it, mate? I had been a fan of that voice for years because it's it is remarkable, isn't it? Yeah. Absolutely remarkable. And so do doing that with her was a great honor, I have to say. It really was. And uh but that whole thing was just the most extraordinary experience. Does it become normal to you to get to play opposite people that have unbelievable talent? I know that seems like a stupid question, but I always feel like I would be intimidated by other people's greatness being a stage actor.

[25:06] Teddy Kempner: But no, no, I it's interesting. Well, obviously, when I started out, it was very intimidating. But I was at Stratford with a very interesting, powerful uh I mean as an actors group of people. So there was uh Roger Reese, who was terrific, uh Bob Peck. Do you remember Bob Peck? Yeah. Ben Kingsley, speaking of nobodies. Yes. Um, and so but but having started with people who you recognized and who you admired, it it gets easier as time goes on. Some people it doesn't seem to bother them at all, but I must say that there have been there have been occasions where I'm yeah, you get shy and it's tricky. I did a play with um another person you'd never have heard of. It was called Bitter Wheat. John Malkovich.

Uh John Malkovich. Yeah, exactly. John Malkovich. I saw that, yeah. And uh and that was I've got to say that was strange because he's such a presence and such a uh uh such an energy. Yeah, I don't know, actually that the in recent years uh I will I felt I did feel a bit intimidated by that, I have to say. And also having David Mammoth who wrote it and um was directing it as well, it was the smallest thing I'd done in years, but I did it obviously to work with those people, and it was very interesting, and the educational side of it, I am glad to say, was what I hoped.

[26:25] William J Connolly: Another show, obviously, that you did very recently was Cabaret, which I came and saw you had company on the brain, then cabaret. And uh I it was this extraordinary, of course, the space is so so special because it's almost unseen in that setting, but also it felt so current and relevant. And I wondered for you, we referenced about not taking certain things home with you, but to know the political relevance, the social relevance, and then the great stars that led it. I mean, like obviously recently having Mason and Cara Delavine, etc. as part of that ensemble. What was that like?

[26:53] Teddy Kempner: Mason Mason was the nicest, and obviously so good, terrific. And Cara was really interested because I didn't know what to expect with her. And there were two things. The first of all, I thought she was really very good, which I you know, I just didn't know what to expect. But she was great, but so nice and approachable and friendly. Yeah, it was great. Yeah, no, it was a it was very special time that those uh Jake Shears also did of Scissor Sisters, lovely man, very nice, terribly good, and um Rebecca, uh known as what's uh what's how self-esteem. Thank you, self-esteem. Lovely, lovely woman and so good, really, really good.

[27:38] Teddy Kempner: There are so many things. I mean, one great thing about speaking to somebody like yourself is you've had so many extraordinary projects, many of which I won't have mentioned, and people will probably start messaging me saying, Why didn't you ask about this? We've touched on very much just some of them, but I wondered when you think back to the very beginning of your career and the fact that this is an industry that a lot of people have great desire to do, but sadly, due to limitations of roles or etc. Luck doesn't fall on their side. But with you, it feels like it very much has. And you've had such a diverse screen and also stage career. When you think back to the very, very, very beginning, could you ever have imagined the accolades, the awards, the successes, the teachers that you've had? Could you ever have imagined that this would happen?

[28:14] Teddy Kempner: Not at all. I I was 18 when I left Rada. And I can safely say genuinely, I I don't know why it's funny. You know, you know, people say to you, what is it you most want to play? Well, I never had any thoughts of that at all. And I never thought anybody would employ me full stop. I really didn't. And I got a job in a sort of community theatre was my very, very, very first thing. And um that was okay, but then things sort of went upwards from there, for which I'm extremely grateful. And I and I I think there's uh a huge amount of good fortune. I've been lucky with my agents, you know. I mean, it's yeah, I know. I mean, I could I I am very, very pleased with how it's all turned out. I feel honored, really, genuinely uh lucky, and um, but at the beginning, I I never thought anybody would employ me.

I mean, the thing that also when I when we started Roder, I was 16, and the next person I think was 21 and upwards to 32 in my group. Very nice group of people. Imelda Staunton was in my year, and um, you know, uh all sorts of people were around at that time. Uh Alan Rickman and uh folk, but I genuinely never thought I'd get away with it, and and here we are, yeah. So it's all been all right, and I'm nothing but grateful and surprised.

[29:43] William J Connolly: I think all right is the understatement, but I I see the point. Did you say you were 19 when you went to Broadway? Was that correct?

[29:48] Teddy Kempner: I think I was about 1920, yeah. I wouldn't have been more than 21, I'm sure of that. Which is crazy if you think about Rada to there and the trajectory of I mean it changed changed your life forever. I joined the Royal Shakespeare Company at exactly the right time because also they very kindly, Trevor Nunn was wonderful. And I was playing small parts in about five or six plays over a couple of years. And that was really lucky. Really lucky. Great people, great learning experience. Terrific. So yeah, just good fortune, I think we can say.

[30:20] William J Connolly: Eddie, thank you so much for your time. I genuinely really appreciate it. Thank you for going through some very specific and niche things and not thinking I'm too crazy. And most importantly, good luck with Girl from the North Country, 24th of June. I'm so happy that it's back. It's has such a special place in my heart. So thank you for taking such care of it, and thank you once again for your time.

[30:36] Teddy Kempner: It's a huge pleasure. And do people come and see it because it's wonderful.

[30:40] William J Connolly: One thank you very much and see you again.

[30:46] William J Connolly: You've been listening to eleven, the official theatre podcast. Find out more about eleven at elevenpodcasts.com or via the Broadway Podcast Network.