Really top-notch. Sher is very open about his own foibles and fascinating personality, and - impressively, I thought, for a book released not long after the events it describes - about the foibles of those around him! Truly a remarkable insight into the preparation for a role, but also for the vicissitudes of mounting a live stage production in these days at a high level. As a performer, I found it both hauntingly true and also very, very funny. I hope it appeals as much to people outside the profession; I suspect it will. ( )

splendid book. Highly recommended ( )

Anthony Sher's diary covering the period of nearly a year from when he first heard rumours that he was going to be asked to play Richard III in Stratford up to the opening of the show in June 1984. A fascinating, detailed account of a process that most of us never get to see. The diary format, cutting out hindsight and including all the false starts and blind alleys, works very well for this. It's really interesting to see how he goes about researching the character, roping in his physio and his shrink, going to meet disabled people, stealing ideas from movies and medical documentaries, endlessly sketching faces and body shapes. Most of the ideas are eventually discarded in the light of what works on stage, but the technical knowledge is still there, informing the theatrical interpretation. Richard III is such a high-profile part that no-one can "just" get up there and do it, you have to be able to bring something to it that the audience haven't already seen a thousand times in the Olivier film...

The description of the rehearsal process, getting to grips with the text and trying out different interpretations of the characters, is fascinating as well, and it's interesting to hear how fraught it often seems to be, even for the very experienced and distinguished actors who work at the RSC. And I loved Sher's drawings of the other cast members done in the margins of the text of the play!

Probably essential reading for actors, but frank, funny and very enjoyable for those of us who never get to go backstage as well. ( )

Sher offers a window into an actor's process, touching on the creative process as well as the negotiations involved in arranging one's roles for a season with a major company like the Royal Shakespeare Company.

I loved this book! I've always found it reassuring to know that even respected actors have the same sorts of sensations I do - about pre-show jitters, post-show depression, forcing emotion, speeding through lines - and Sher's writes with such clarity and evocation that it was a compelling read on all fronts. ( )