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Mad About Music
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Patrick Stewart (Timothy White)Patrick Stewart
As an actor, Patrick Stewart is perhaps best known as the Captain of the starship “Enterprise” in “Star Trek.” But he is also acclaimed for his stage portrayals, ranging from Shakespeare to Dicken’s Scrooge in A Christmas Carol, to a multitude of roles in film. His hosting of “Saturday Night Live” produced one of the largest audiences in the history of the show. There’s even a triumph in music, winning a Grammy for his narration in a recording of Prokofiev’s Peter and the Wolf. In fact, it turns out that classical music has been the soundtrack for some of the most personal moments in his life.
Edvard Grieg Peer Gynt Suite No. 1, Op. 46 . "Morning Song". Berlin Philharmonic. Herbert von Karajan. Deutsche Grammophon 419 474-20.
William Alwyn Pastoral Fantasia for Viola and String Orchestra . (Excerpt) City of London Sinfonia. Richard Hickox. Stephen Tees, Viola. Chandos 9065.
Hector Berlioz Les Troyens . Act IV. "Nuit d'ivresse et d'extase infinie!" Orchestra of the Royal Opera House, Covent Garden. Colin Davis. Jon Vickers, Tenor. Josephine Veasey, Mezzo-soprano. Decca 473 923-2.
Billy Mayhew "It's A Sin (To Tell A Lie)". Brent Spiner. Back-up vocals by LeVar Burton, Michael Dorn, Jonathan Frakes, Patrick Stewart. Bay Cities BCD2004.
André Previn Every Good Boy Deserves Favour . (Excerpt) London Symphony Orchestra. André Previn. RCA BL12855.
Benjamin Britten Serenade for Tenor, Horn and Strings, Op. 31 . "Pastoral". The Boyd Neel String Orchestra. Benjamin Britten. Peter Pears, Tenor. Dennis Brain, Horn. Decca 468 801-2.
Edward Elgar Symphony No. 2 in E flat major, Op. 63 . (Excerpt) London Philharmonic Orchestra. Georg Solti. London/Decca 443856.
Kaplan One of the world's foremost actors and music lover, Patrick Stewart on today's edition of “Mad About Music.”
[Theme Music]
Kaplan As an actor, he is perhaps best known as the Captain of the starship “Enterprise” in “Star Trek.” But he is also acclaimed for his stage portrayals, ranging from Shakespeare to Dicken's Scrooge in A Christmas Carol , to a multitude of roles in film. His hosting of “Saturday Night Live” produced one of the largest audiences in the history of the show. There's even a triumph in music, winning a Grammy for his narration in a recording of Prokofiev's Peter and the Wolf. In fact, it turns out that classical music has been the soundtrack for some of the most personal moments in his life. Patrick Stewart, welcome to “Mad About Music.”
Stewart Thank you. I'm happy to be here. Kaplan Now, those must have been heady days when you starred in “Star Trek.” Is it really true, as I read, that you once said that, “To Americans, who sits in the Captain's seat on the 'Enterprise' is more important than who sits on the throne of England.”
Stewart Yes, I did say that. And that came out as a slightly bad-tempered response to what had been a series of inferences by journalists, people in the media, that by accepting this job on a syndicated science fiction television series, I was somehow slumming. I was going down market, because they would always bring up my years with the Royal Shakespeare Company and other classical work I'd done in England.
Kaplan Well, it's very good of you to stick up for American taste, whatever level it might be at, but we'll come back to your career. Let's talk now about music in your life. I'm always curious how our guests first encounter music and recognize their early response to it. Was there a defining moment such as that for you?
Stewart My first remembered encounter with classical music was at school and one day, a small orchestra visited our school, one afternoon, and for an hour or so they replaced our usual classes. The conductor asked questions of the students, and I remember he asked if anyone knew what the word was that meant the plucking of strings rather than the bowing of them. And my hand shot up, the only hand. And I said, “pizzicato.” And the surprised man said, “yes, you're absolutely right, that's what it is.” Afterwards, one of my teachers said to me, “Stewart, how did you know that?” I suppose I was eight or nine at the time, and certainly not playing any kind of instrument. I promise you, I have no idea how I knew that, but things like that happened a lot in my early years. I don't know how I acquired certain pieces of information, but acquire it I did. The first piece that they played, which therefore was the first piece of classical music I ever heard live, was the piece “Morning,” from Grieg's Peer Gynt Suite . And I thought it was just beautiful. And it swept me away from my rather grim little industrial town in the north of England, where I was brought up.
[Music]
Kaplan “Morning Song” from Grieg's Peer Gynt Suite No. 1 , the Berlin Philharmonic led by Herbert von Karajan. The first selection of my guest on “Mad About Music” today, the actor Patrick Stewart. Now, returning to “Star Trek,” I read that at the beginning, you were so convinced you'd be fired that you didn't unpack your bag for six weeks.
Stewart That's a true story. I was lodging at a friend's house, a small bedroom, and I thought I would be realistic about my chances of holding down this job. And that led to me NOT unpacking my suitcase. I managed to live out of it for the six weeks that we were shooting the pilot episode of “Next Generation.” Of course the time came when I was compelled to unpack it and to find more permanent digs. And I threw myself into the work. It was intense work, but as time went by, I felt very displaced. I felt cut off from my theatrical roots, friends, even family. And at times, would get very, very homesick, particularly for the English landscape. And one night, after a long day at Paramount, I was driving home down Beverly Boulevard, and listening to KUSC, which was a life-saving radio station for me in those days, because, as you know, it plays classical music. And a piece was already playing, when I turned my radio on, and I found within a few moments, that my eyes began to mist over and I ultimately had to pull over and park on Beverly Boulevard, because I couldn't see to drive, my eyes were so filled with tears, which were streaming down my cheek and dropping off my chin, and it was the music that I was listening to. I didn't know what I was listening to, but it spoke to me of the English landscape so powerfully that I was simply overwhelmed by it. So I stayed there in my car, until the piece finished. And what I was listening to was William Alwyn's piece, the Pastoral Fantasia for Viola and Strings .
[Music]
Kaplan An excerpt from William Alwyn's Pastoral Fantasia for Viola and String Orchestra , performed by the City of London Sinfonia, conducted by Richard Hickox, with Stephen Tees on the viola. Music chosen by my guest on “Mad About Music,” today, the actor Patrick Stewart. You can learn more about Patrick Stewart or listen to any of our prior shows by logging on to WNYC.org, and then just click on “Mad About Music.” When we return, we'll explore the world of opera and Patrick Stewart.
[Station Break]
Kaplan This is Gilbert Kaplan with my guest on today's edition of “Mad About Music,” actor Patrick Stewart. Now, Alwyn, I see, is one of the three British composers you've chosen to play today. Does British music particularly resonate with you in a special way?
Stewart It does, because my first exposure to contemporary music was through a British composer, who I know we're going to talk about later, Benjamin Britten. I think because I have lived in the United States for 17 years, there is this sentimental and emotional inclination towards English music. I do listen to a lot of Vaughn Williams, for example. I do listen to a lot of Elgar and we will have some Elgar later on. And perhaps that has been especially stimulated by the fact that I spent all of these years in Southern California.
Kaplan But you've also spent many years in a starship “Enterprise,” and I would have thought that another composer connected to England, Gustav Holst, with his famous work The Planets might attract you.
Stewart I have, in fact, narrated – it's a DVD in fact, which has a recording of The Planets suite and with me doing a whole lot of talking, I can't quite now remember exactly what I was talking about, but there it is. Gustav Holst and I have been brought together, we actually also lived in the same part of London. He lived in west London, not far from where I spent many, many happy years. But he didn't find, unfortunately didn't find his way onto my list.
Kaplan On the other hand, I see an opera did make your music list, which is a bit surprising because earlier in your career I understand you said you hated opera.
Stewart Well, I was really a rather pompous young actor. I've lost some of that pomposity. I think that's one of the nicest things about living in America for me, is that I think I've become a nicer person, as a result of living in the United States. And I had a rather arrogant attitude toward opera, largely because of the style of acting. I think it's true to say that reality of performance was not necessarily that important a factor in the opera house. And the artificiality of so much of the performances, despite the music and despite the wonderful singing, always alienated me. When I got to Los Angeles, and I was looking around to try to fill out my cultural life and I met at an event somewhere the late Peter Hemmings, who was the General Manager of the L.A. Opera. One night I was wrapping my work on “Star Trek” early and I didn't know if there was anything on at all, but I called down to Peter's office, and there his assistant said, “Yes, there is, but I've got to warn you, it starts very soon, it's a long opera, it's five hours, we've got Berlioz's Les Troyens on tonight.” Oh, gosh, I said, well I love the story of Troy, and yes I think I know a little bit of it – I'm on my way”, so they held a seat for me and down I went. Well, I was simply overwhelmed by the experience! You may hear the emotion rises in my voice, as I recall that night. Five hours, it passed all too quickly. Oh, there's a little additional story. I actually did take a date to The Trojans , and I was very attracted to this woman, and I began to think, as I listened to the great duet that ends Act IV, between Dido and Aeneus, that I might just possibly have been falling in love. I realize now in looking back that I think it was entirely the music! And there was no reality about my feelings at all! So, the piece that I would love to hear is the end of Act IV, the duet between Dido and Aeneus.
[Music]
Kaplan Music from Berlioz's opera, The Trojans , the moving duet in Act IV, sung by tenor Jon Vickers and mezzo-soprano Josephine Veasey, with the Orchestra of the Royal Opera House, Covent Garden, led by Sir Colin Davis. A selection of my guest on today's edition of “Mad About Music,” the actor Patrick Stewart. Now, speaking of opera, with so many of Shakespeare's tales set to opera, if you could sing, which would you like to have performed? Would it be Verdi's Othello , for which you are recognized as one of the foremost acting interpreters?
Stewart Yes, it would be Othello , although, I'm lucky enough to have made the acquaintance of Bryn Terfel, I would fancy myself as a Falstaff, too, I think. I f I got a second shot at anything, it would be a classical pianist. The piano is where I would turn if I were to get a second opportunity to have a go at something creative.
Kaplan Well, I see, though, from your next selection that you once ventured into yet another field of performance – pop music – which brings us to the section of our show which we call the “Wildcard' – as our listeners know, the moment you can pick anything from outside the classical or opera repertoire. It can be rock, jazz, whatever. So what did you bring us today?
Stewart Well, I've rather brazenly chosen something with me as a performer. What I've chosen is a track from an album recorded by my colleague and dear friend, Brent Spiner, who played the memorable character Data, on “Star Trek: The Next Generation.” The album is entitled “Ol Yellow Eyes Is Back,” inference of course not only to the contact lenses he wore, but to his great idol, Frank Sinatra. When Brent was talking about this album and discussing the different – it's an album of love songs – I said to him, “Brent, have you ever thought about playing, singing any Ink Spots, they had some lovely music.” Of course, not many people outside my generation – our generation – Gilbert, would know who the Ink Spots were. But as a young person, I …
Kaplan [Sings] “If I didn't care…”
Stewart I see it's imprinted, too, on your musical memory. Well, Brent listened to some albums and he chose to sing, “It's a Sin to Tell A Lie.” He said, “All right, this was your suggestion, Patrick, here's what I'd like to do. On this particular track, I'm going to invite our colleagues and you to provide back-up vocals for me and I want you to do the spoken section”, which was often typical of Ink Spots' numbers. And we spent the whole evening making this one particular track singing and for a few hours we actors could fool ourselves that really we were in the pop world of music. I do remember that there was some alcohol flowing around as well, which just made the evening go all that much better.
[Music]
Kaplan “It's a Sin to Tell A Lie,” the legendary Ink Spots song, here performed by Brent Spiner, with Patrick Stewart and his colleagues from the starship “Enterprise,” providing backup vocals and Patrick Stewart, the narrator. It's his selection, his “Wildcard,” but in a way, we have a second “Wildcard” today, don't we, a work from the composer André Previn. I say almost because Previn is one of the few composers almost as comfortable as a classic music composer as in writing popular music.
Stewart T his was back in the 70s, when the Royal Shakespeare Company collaborated with the London Symphony Orchestra on a premiere piece, music composed by André Previn, words by Tom Stoppard – and in a supporting role, Patrick Stewart. In this, I play a doctor in the alleged psychiatric institute where these dissidents and truly mentally ill people are being held. In a typically Stoppardian twist, one of the insane men in the asylum, played by John Wood, believes that he plays in the symphony orchestra. The doctor who is treating him actually does play in a real symphony orchestra. And for 12 or 14 minutes, maestro Previn is conducting the LSO, they're playing away, when suddenly, from an obscure seat in the second violins, one of the players gets up, looking at his watch, and hurries forward to the podium, and whispers – obviously saying “I have to go.” Well, this was me, and this, of course, caused some consternation in the audience the first time it was ever performed, because they really thought that a member of the LSO actually had a more pressing appointment somewhere else. But you understand that I don't play a note on the violin! A violin had been specially treated; the strings have been treated so that no matter what I did, I couldn't make a sound. But, here's the point. I sat in the middle of the London Symphony Orchestra under the baton of André Previn, playing some very exciting and rousing music, and it's few of us who love music who get an opportunity such as that, which is why I made this selection.
[Music]
Kaplan Music from the opening of André Previn's Every Good Boy Deserves Favour , performed by the London Symphony Orchestra and conducted by Previn himself. A selection of my guest on “Mad About Music” today, the actor and in this case, a pretending member of the second violin section, Patrick Stewart. When we return, we'll explore Patrick Stewart's first encounter with 20 th century music.
[Station Break]
Kaplan This is Gilbert Kaplan with my guest, actor Patrick Stewart. I'm particularly interested in your next selection, and your story behind it, because you are one of the few guests who have selected a contemporary work on “Mad About Music.” But before you tell the story about discovering Benjamin Britten, your selection, in general, tell me how and if you do really connect to today's music.
Stewart I have to confess that I struggle with a great deal of contemporary music. But this is something that I hope is going to be adjusted because of certain happy circumstances I find myself about to enter into. I was recently to my astonishment and delight invited to be Chancellor of the university in the town in which I grew up as a boy. I left that town at age 15 with a very modest education, and I'm now returning to it as Chancellor of the university, which has a particular charm about it. I'm delighted I'm going to be very active working for the University. Huddesfield, as I'm sure you are aware, has one of the foremost contemporary music festivals in the world. And, the best composers and orchestras, performers, come to Huddesfield. It has already been suggested to me that it would be nice if I were to involve myself as much as possible with this festival. So, I am going to be exposed to much more contemporary music than I've experienced in the past, so you should invite me back in a couple of years' time and I'll tell you where I am with regard to all that.
Kaplan With great pleasure! So then, let's go to your discovery of contemporary music.
Stewart I have a very good friend, an actor, a New Zealand actor who loved music, but especially Benjamin Britten. The first Britten that I ever heard was the War Requiem . He sat me down and we listened to the great premiere performance, which was recorded by Fischer-Dieskau. But one piece, which touched me immediately, probably because it was settings of beautiful poems as well, was the Serenade for Tenor, Horn and Strings . This particular track, which is called “Pastoral,” from the Serenade , also evokes for me England, but not present-day England; it evokes an England of my imagination and dreams, an England that I associate very much with my beloved world of Shakespeare.
[Music]
Kaplan “Pastoral,” from Benjamin Britten's Serenade for Tenor, Horn and Strings , performed by the Boyd Neel String Orchestra, with Britten himself on the podium, with tenor Peter Pears and Dennis Brain on the solo horn. A composer that introduced 20 th century music to my guest on “Mad About Music,” actor Patrick Stewart. You know, it strikes me that many of your selections today connect to music with emotional overtones. You mentioned earlier crying when you heard Alwyn's music. That would be in contrast to another actor we had on this show, Alan Alda, who said although music moves him, he never recalls crying to music. Does music often bring you to tears?
Stewart Oh, yes! I think it is the emotional response that I have to music, which is most powerful for me, certainly it's not intellectual and certainly it's not, it's not musical appreciation! I connect to it viscerally. And, you know, the pieces that I have chosen, it was so because I'm not simply equipped to talk about them musically.
Kaplan Now, when you have experienced moments of difficulty or grief, do you often turn to music?
Stewart I think I'm often nervous of that, because feelings can overwhelm me very easily. And I will find that any strong feeling will be only intensified by music. And many of the associations that I continue to have are certainly emotional associations and I'm a little embarrassed to say this, I can weep at the singing of the American national anthem. By the way, I can say that sometimes when it comes to acting, I have used music to explore an emotion; to produce in me a set of feelings appropriate to the play, to the character, that I'm playing. I've used them deliberately in that way, to induce these feelings and then to overlay them onto whatever acting I'm keen on.
Kaplan Can you think of an example of that?
Stewart Well, I have actually used the Benjamin Britten, the Serenade , when I wanted to invoke strong feelings of tenderness and love. I do remember in a production of The Winter's Tale , Act V, which is a very emotional act for the King Leontes, in which he's reunited with his believed-dead wife after 16 years, and I only had to summon to mind some of that music and it would have an instant emotional impact on me. In the theater, we call it “sense memory.” Usually, it's to do with personal experiences, but I find that music can invoke quite potent sense-memory.
Kaplan Well, in that sense, I'm sure you would agree with me then that your next selection, Elgar's Second Symphony , certainly packs an emotional wallop.
Stewart Whoof, my word! I didn't know Englishmen wrote like that. And so, here's my story, attached to that. On the tenth of September three years ago, I was working in the north of England, in Leeds, living in my house in the country, in Yorkshire Dale's National Park. I had an hour's drive every day into town, and the first half hour of it was through some of the most glorious scenery in England, in the world, probably. Across the high moorland of the Yorkshire Dales. And that day I had chosen from the rack the Elgar Second Symphony , put it on, and started to play it. By the time I got home, I'd only got through the first three movements. The next day, I had lunch in a pub, and then I had a photo call in the theatre, got into my car, and started this beautiful drive, and then I remembered: Ha! The fourth movement of the Elgar – of course, I'll put it in!
I played it, and yet again was simply overwhelmed by it. I mean, as I speak now, the memory comes back to me. But I was also in this glorious landscape, and the road that I drove was generally deserted, it was a narrow, narrow winding road, going over these high moorlands. It finished, and I turned it off. I didn't want to hear anything else. I just wanted to stay with the feelings of that extraordinary last movement it induced. And after a time, 15 minutes or so, I flipped on the radio to hear the very end of a news broadcast that something had happened in New York City. And I was quickly to learn what it was. What it was, was the tragedy and disaster at the World Trade Center. It is become now for me, those things have become so interconnected, the Elgar and the feelings that I experienced that day, and in some way, the emotion, the compassion, and the, the intensity of the disturbance, that is so redolent in Elgar's great work, will live with me for all time, associated with that terrible day.
[Music]
Kaplan The final moments of Elgar's Symphony No. 2 , the London Philhrmonic Orchestra led by Sir Georg Solti. The final selection of my guest on today's edition of “Mad About Music,” the actor Patrick Stewart. You know, Elgar called this symphony “The passionate pilgrimage of the soul,” and in a way, your experience with it proves that. But one observer said that the final moments we just heard “unforgettably mingle delight, regret and acceptance.” Delight, regret and acceptance; and as you look at your own life now, both professionally and personally, what do these words mean to you?
Stewart T hey remind me of the words of a very wise psychiatrist, writing about grief who said that we should enjoy life fully, but hold it lightly. Letting it go, and always ready to move on to a new experience. And it's a hard thing to accomplish that. I've struggled to do it both in my work as well as in my life. I'd never heard those words before, but as you speak them, they bring back to me the complexity of feelings that certainly have always surrounded me whenever I've listened to that extraordinary piece.
Kaplan: You know, I always encourage guests to select music which has some story to go with it, but your story-telling today was simply remarkable, and one cannot fail to be moved by the degree to which, as I said in my introduction, music has been the soundtrack of your life. Patrick Stewart, thank you for joining us today. This is Gilbert Kaplan, for “Mad About Music.”
[Credits]
About Patrick Stewart
An internationally respected actor known for successfully bridging the gap between the theatrical world of the Shakespearean stage and contemporary film and television, Patrick Stewart continues to demonstrate his versatility with a wide range of projects.
Stewart will next be seen in the Showtime remake of "The Lion in Winter." In addition to starring opposite Glenn Close, Stewart will also executive produce along with Wendy Neuss, Robert Halmi Sr., and Martin Poll, who produced the orginal film. The film will air on Showtime in May.
In 2003, Stewart appeared in two high profile stage productions: Ibsen's "The Master Builder" in London 's West End which also starred Sue Johnston and Lisa Dillon. For his role as Solness Stewart received outstanding critical acclaim. Most recently he completed a run of Harold Pinter's drama "The Caretaker" on Broadway. Starring as "Davies" the production included Kyle MacLachlan as “Aston” and Aidan Gillen as “Mick” and was directed by David Jones.
Stewart is well-known for his roles in two hit movie franchises. He stars as 'Professor Charles Xavier' in 20th Century Fox's "X-Men" and "X-2" both directed by Bryan Singer. The "X-Men" films also feature the all-star cast which includes Sir Ian McKellan, Hugh Jackman, Halle Berry , Famke Janssen, Jimmy Marsden and Anna Paquin. He also stars as Captain Jean-Luc Picard in the "Star Trek" feature films, a role he played on television for 6 years.
Stewart earned both Emmy and Golden Globe nominations for "Best Actor in a Dramatic Series or Mini-Series" for his role as 'Captain Ahab' in the USA network's “Moby Dick,” opposite Gregory Peck and Henry Thomas. The $18 million epic mini-series was filmed on location in Australia and set a ratings record for the network. In 2000 Stewart earned a SAG Award nomination for his role in TNT's "A Christmas Carol." Stewart played "Ebenezer Scrooge," a role which continues a cherished association with Charles Dickens' classic that has included his noted one-man performance of the play on Broadway. The film was produced by Robert Halmi and Stewart for Hallmark, and also starred Joel Grey.
In 1998, Stewart received critical notice for his portrayal in the title role of “Othello” at the Shakespeare Theatre in Washington , DC . Jude Kelly directed Stewart along with an otherwise all-Black cast in a 'photo-negative production' which took a bold, new look at the play. Stewart's performance was praised in the New York Times as "never anything less than uncanny in his psychological portrait: it's like watching an autopsy on human feeling."
In December of 1996, Stewart brought “A Christmas Carol,” his award-winning adaptation of Charles Dickens' classic tale, to an exclusive engagement at the Doolittle Theatre. Stewart first performed this acclaimed one-man show for Broadway audiences in 1991, playing over 40 characters and earning him a Drama Desk Award for Best Solo Performer. This marked his first return to the New York stage since 1971, when he appeared in the now legendary Peter Brook production of “A Midsummer Night's Dream.” When Stewart presented "A Christmas Carol” at London's Old Vic Theatre he received an Olivier Award nomination as Best Actor and the Olivier Award for Best Entertainment. In December of 2001, he took the show back to Broadway for eight benefit performances. The ticket sales from the sold-out performances were the highest single-week sales for any play in the history of Broadway.
On television, Stewart originated the role of 'Jean-Luc Picard' in the hit series "Star Trek: The Next Generation" which aired from 1988 to 1994; this role earned him Best Actor nominations from the American TV Awards and the Screen Actors Guild. In addition to his starring role, he also directed several episodes, one of which ("A Fistful of Datas") received an Emmy. Stewart reprised the role of 'Jean-Luc Picard' for Paramount Pictures in the motion pictures "Star Trek: Generations" (which also starred William Shatner and Malcolm McDowell), "Star Trek: First Contact," "Star Trek: Insurrection" and "Star Trek: Nemesis."
Stewart's additional film credits include the film adaptation of Paul Rudnick's play, "Jeffrey," "Hedda," "Dune," "Lady Jane," "Excalibur," " LA Story," "Death Train," "Robin Hood: Men In Tights," "Gunmen," "Masterminds," "The Pagemaster," "Conspiracy Theory," "Safe House," and "Dad Savage." He also lent his voice to the character, 'Seti,' in Dreamwork's hit animated feature film, "Prince of Egypt" and to the character of King Goobot in Paramount and Nickelodeon Movies' highly successful computer animated motion picture "Jimmy Neutron: Boy Genius."
Other television roles include the title role of "King of Texas" an updated version of "King Lear" set in Texas during the Mexican revolt in the mid-1800s with Hallmark Entertainment which Stewart co-produced; the title role of "The Canterville Ghost" for ABC and The Hallmark Hall of Fame, TNT's "In Search of Dr. Seuss," FOX's animated series "The Simpsons," as well as hosting several documentary series including "The Shape of the World" on PBS and TNT's "MGM: When the Lion Roars," a six-part series on the history of Metro-Goldwyn Mayer.
For the BBC, Stewart has been seen in the acclaimed miniseries, "I, Claudius," "Tinker, Tailor, Soldier, Spy," and "Smiley's People." He has also portrayed Salieri in "The Mozart Inquest," Oedipus in "Oedipus Rex," and Rev. Anderson in "The Devil's Disciple."
Stewart is an Honorary Associate Artist of the Royal Shakespeare Company, having been made an Associate Artist in 1967. With the RSC he has played such roles as King John, Shylock, Henry IV, Cassius, Titus Andronicus, Oberon, Leontes, Enobarbus, Touchstone and Launce. He has also starred in many contemporary works with the RSC, including premiere productions by Tom Stoppard, Edward Bond, Howard Barker and David Rudkin. In 1986, he played the title role in Peter Shaffer's play "Yonadab" at the National Theater.
Stewart won the Society of West End Theater (SWET) Award for his performance as Enobarbus in Peter Brook's production of " Antony and Cleopatra" and was nominated for his Shylock in "The Merchant of Venice."
Stewart's additional stage productions have also included his role in Arthur Miller's "The Ride Down Mt. Morgan." Stewart played Lyman Felt a bigamist who is visited by his two wives while he is convalescing in a hospital after an automobile accident in His critically acclaimed debut at the Public Theatre in 1998, earned him a Drama Desk nomination. During the Summer of 2000, Stewart reprised the role in a Broadway production which received a Tony nomination for Best Play. In 2001, Stewart appeared in "Johnson Over Jordan" in Leeds , England . Directed by Jude Kelly, the production marked the first revival of the play by J.B. Priestley since the original opening in London in 1939. Also in 2001, he appeared in the Guthrie Theater's ( Minneapolis ) critically acclaimed production of Edward Albee's "Who's Afraid of Virginia Woolf?" Stewart starred as George, a middle-aged college history professor in a destructive relationship with his wife Martha. Directed by David Esbjornson the play also starred Mercedes Ruehl, Carrie Preston and Bill McCallum.
In addition to "A Christmas Carol," Stewart has adapted other works for the stage, TV and radio, including two works by Mikhail Bulgahov, "The Procurator" (from the novel "The Master and Margarita") and "A Country Doctor's Notebook." In 1992, he directed the music/drama "Every Good Boy Deserves Favour" by Tom Stoppard and Andre Previn, starring with four other cast members of "Star Trek: The Next Generation" and the Orange County Symphony Orchestra. In 1993, the same production was presented with symphony orchestras in Minneapolis , Chicago and Atlanta .
In 1995 Stewart starred on Broadway as Prospero in Shakespeare's classic "The Tempest," for which he received a best actor nomination from the Outer Critics Circle. The production, which was originally featured as part of the hugely successful Shakespeare In The Park Festival , received overwhelming public and critical response - becoming the festival's biggest event since 1980.
In 1996, in honor of his work on the stage, Stewart received the prestigious “Will Award” from The Shakespeare Theatre in Washington , D.C. The Honor is given annually to an individual who makes “a significant contribution to classical theatre in America .”
That same year, Stewart also won a Grammy Award for his narrative work on the Best Spoken Word Album for Children, "Prokofiev: Peter and the Wolf."
In 2001 New Years' Honors list, Her Majesty Queen Elizabeth conferred on Stewart the order of the Officer of the British Empire (O.B.E.).
