WEBVTT 00:00:00.000 --> 00:00:01.990 TERRY WOGAN: Jonathan Pryce. 00:00:01.990 --> 00:00:15.062 [MUSIC] [APPLAUSE] 00:00:15.062 --> 00:00:16.880 TERRY WOGAN: We won't go into the story in any great length, 00:00:16.880 --> 00:00:19.420 but in fact, yours is a pretty nasty part. 00:00:19.420 --> 00:00:21.150 He's a nasty piece of work for the engineer. 00:00:21.150 --> 00:00:25.360 JONATHAN PRYCE: Yeah, I'm her agent. Put it politely. [LAUGHTER] 00:00:25.360 --> 00:00:26.920 TERRY WOGAN: But you also engineer 00:00:26.920 --> 00:00:32.210 all the sexual release for the Marines in Saigon, as well, don't you? 00:00:32.210 --> 00:00:33.800 JONATHAN PRYCE: Yes, I couldn't have put it more politely. 00:00:33.800 --> 00:00:35.440 Yes, that's it. That's what I do. 00:00:35.440 --> 00:00:38.605 I run a bar called Dreamland in Saigon. 00:00:38.605 --> 00:00:41.685 She's my new star in the bar. 00:00:41.685 --> 00:00:45.385 The story goes on from there. You've said the rest of the story. 00:00:45.385 --> 00:00:48.240 TERRY WOGAN: You've had to have special makeup for all this. 00:00:48.240 --> 00:00:49.900 You're not wearing it at the moment, obviously, 00:00:49.900 --> 00:00:55.485 but you've had [OVERLAPPING]. It suits you. 00:00:55.485 --> 00:00:56.340 JONATHAN PRYCE: Some blusher. 00:00:56.340 --> 00:00:59.100 TERRY WOGAN: But you've got to get the eyes. 00:00:59.100 --> 00:01:01.815 JONATHAN PRYCE: They don't go that way, Terry, they go this way. 00:01:01.815 --> 00:01:03.545 TERRY WOGAN: You tell that to Prince Philip. 00:01:03.545 --> 00:01:07.430 [LAUGHTER] LEA SALONGA: Prosthetics. 00:01:07.430 --> 00:01:08.430 JONATHAN PRYCE: Prosthetics. 00:01:08.430 --> 00:01:12.585 It's a very light latex which is a false lid. 00:01:12.585 --> 00:01:15.405 TERRY WOGAN: I'd hate that. Does it not irritate and ...? 00:01:15.405 --> 00:01:19.545 JONATHAN PRYCE: I'd rather be without them, but they're quite comfortable. 00:01:19.545 --> 00:01:24.060 The great thing about them, no acting is required once you've got those on, 00:01:24.060 --> 00:01:26.700 you just stand there and it all happens. 00:01:26.700 --> 00:01:27.735 TERRY WOGAN: Slip into the role. 00:01:27.735 --> 00:01:28.590 JONATHAN PRYCE: Yeah. 00:01:28.590 --> 00:01:32.440 TERRY WOGAN: There was, I would imagine. You were widely regarded as a versatile actor, 00:01:32.440 --> 00:01:33.840 but quite a serious actor. 00:01:33.840 --> 00:01:36.300 Did any of your theatrical friends say to you, 00:01:36.300 --> 00:01:39.390 "For heaven's sake, this is a musical"? 00:01:39.390 --> 00:01:45.170 JONATHAN PRYCE: No, my friends, they were very supportive of the idea, 00:01:45.170 --> 00:01:47.930 and they found it, as they do still, find it quite exciting. 00:01:47.930 --> 00:01:51.410 TERRY WOGAN: What about convincing the producers who are actually putting, 00:01:51.410 --> 00:01:53.955 well, millions into a show like this? 00:01:53.955 --> 00:01:55.440 Now, they know you Jonathan Pryce, 00:01:55.440 --> 00:01:57.310 a tremendously highly-regarded actor. 00:01:57.310 --> 00:01:58.730 Great. Get Jonathan Pryce, 00:01:58.730 --> 00:02:02.725 but we can't have anybody who can't sing. 00:02:02.725 --> 00:02:06.975 There must have been a hard-selling job required there for you. 00:02:06.975 --> 00:02:10.770 JONATHAN PRYCE: No, Cameron MackIntosh knew I could sing 00:02:10.770 --> 00:02:15.070 from a little adventure we thought about beforehand. 00:02:15.070 --> 00:02:18.745 But I sang for the Frenchmen. 00:02:18.745 --> 00:02:23.230 The two of them, and I sang at the London Palladium on stage there, 00:02:23.230 --> 00:02:25.890 and it went over it quite well. 00:02:25.890 --> 00:02:27.010 If I hadn't got the job, 00:02:27.010 --> 00:02:29.225 that would have been enough, I think, just singing at the Palladium. 00:02:29.225 --> 00:02:33.570 TERRY WOGAN: But as a non-singer in a sense, non-professional singer, 00:02:33.570 --> 00:02:35.760 does it take a lot out of you? 00:02:35.760 --> 00:02:38.540 Is it more demanding? Must be more demanding than straight acting. 00:02:38.540 --> 00:02:41.960 JONATHAN PRYCE: It's the easiest job I've ever had in my life. 00:02:41.960 --> 00:02:46.010 [LAUGHTER] I'm not giving any of the money back. 00:02:46.010 --> 00:02:47.390 TERRY WOGAN: Don't worry. [LAUGHTER] 00:02:47.390 --> 00:02:51.235 JONATHAN PRYCE: Yes. Not that you'll know, will you? 00:02:51.235 --> 00:02:56.055 I was looking for a quiet life. 00:02:56.055 --> 00:03:02.385 Playing things like Macbeth and other similar roles, 00:03:02.385 --> 00:03:05.910 it feels like beating your head against the wall every night. 00:03:05.910 --> 00:03:10.900 It does actually take a lot out of you in terms of stress and emotional stress. 00:03:10.900 --> 00:03:16.225 It's very uplifting work, but it's very tiring. 00:03:16.225 --> 00:03:18.870 I found doing the musical, 00:03:18.870 --> 00:03:20.990 I get a great deal of pleasure, 00:03:20.990 --> 00:03:22.550 a great deal of enjoyment out of it. 00:03:22.550 --> 00:03:25.540 I only have to work 50%, 00:03:25.540 --> 00:03:30.690 because the orchestra and the music take care of 50%. 00:03:30.690 --> 00:03:32.490 I'm still not giving any of the money back. 00:03:32.490 --> 00:03:36.810 TERRY WOGAN: But you got to remember all the notes and all the dance steps and all the rest of it. 00:03:36.810 --> 00:03:39.010 JONATHAN PRYCE: It comes like second nature, 00:03:39.010 --> 00:03:40.455 it's... Once it's in. 00:03:40.455 --> 00:03:44.085 TERRY WOGAN: Being a Saigon pimp suits you, and it's easy work. 00:03:44.085 --> 00:03:45.390 JONATHAN PRYCE: Yeah, easy-peasy. 00:03:45.390 --> 00:03:48.450 TERRY WOGAN: But Lea, 00:03:48.450 --> 00:03:50.539 I know from reading about you 00:03:50.539 --> 00:03:54.290 that in fact, a musical career is not necessarily or 00:03:54.290 --> 00:03:59.155 a career in showbiz is not necessarily the be-all and end-all of your ambitions. 00:03:59.155 --> 00:04:00.720 LEA SALONGA: Yes, it isn't. 00:04:00.720 --> 00:04:02.920 Because I'd like to go back to medical school 00:04:02.920 --> 00:04:05.960 and finish and I'd like to be a doctor in the future. 00:04:05.960 --> 00:04:08.660 But since with the success of Ms. Saigon, 00:04:08.660 --> 00:04:13.060 it's now very difficult to place where I would like to go, 00:04:13.060 --> 00:04:15.960 I could either go back home after Ms. Saigon and finish 00:04:15.960 --> 00:04:19.760 medical school or go back home and continue a career in theater. 00:04:19.760 --> 00:04:23.430 I really don't know now. I'm really confused now. I need lots of help. 00:04:23.430 --> 00:04:27.650 TERRY WOGAN: Because you're an old lady, you better make your decisions. You're only 18. 00:04:27.650 --> 00:04:28.445 LEA SALONGA: Only 18. 00:04:28.445 --> 00:04:29.270 TERRY WOGAN: Take your time. 00:04:29.270 --> 00:04:29.780 LEA SALONGA: I will. 00:04:29.780 --> 00:04:31.060 TERRY WOGAN: You can be a big star, 00:04:31.060 --> 00:04:33.340 you are, and be a successful doctor. 00:04:33.340 --> 00:04:33.940 LEA SALONGA: Yeah, I could. 00:04:33.940 --> 00:04:34.650 TERRY WOGAN: Why not? 00:04:34.650 --> 00:04:35.760 LEA SALONGA: Why not? 00:04:35.760 --> 00:04:37.780 TERRY WOGAN: Meanwhile, you'll just have to go back. 00:04:37.780 --> 00:04:40.780 You'll be bored stiff, going back to the straight theatre, won't you? 00:04:40.780 --> 00:04:42.360 JONATHAN PRYCE: Well, I'm in this for a year, 00:04:42.360 --> 00:04:45.310 and then we start talking about America. 00:04:45.310 --> 00:04:47.820 TERRY WOGAN: You've already won a Tony on Broadway anyway. 00:04:47.820 --> 00:04:50.270 JONATHAN PRYCE: Yeah. Done. Been there. [LAUGHTER] 00:04:51.140 --> 00:04:53.220 TERRY WOGAN: Well, it hasn't changed you. 00:04:53.220 --> 00:04:53.925 JONATHAN PRYCE: No. 00:04:53.925 --> 00:04:55.940 TERRY WOGAN: This show—you're both marvelous in it, 00:04:55.940 --> 00:04:58.050 so thank you both. Lea and Jonathan. 00:04:58.050 --> 00:04:58.260 LEA SALONGA: Thank you. 00:04:58.260 --> 00:04:59.440 JONATHAN PRYCE: Thanks. [APPLAUSE]