Quotes from Michael Ball

In 2005, I played Count Fosco in 'The Woman In White' on Broadway. It was a disaster. I was physically run down and terribly homesick and I just knew I had to leave. I lasted three months before the producers released me.

You can generate a phenomenal relationship with an audience. It's very gratifying, a real privilege.

I don't have hobbies. Other than watching telly and walking my dogs, what I do is work. That's who I am.

I think shows like 'Dancing on Ice,' 'X Factor' and 'Britain's Got Talent' make great telly, but I'd never want to be contestant. I'm far too insecure and competitive. Also, working in theatre, you're being judged all the time - and I'd rather not be told I'm awful in front of millions of people!

That's what distinguishes the pros from people involved in amateur theatre. You just go out and do it again and again.

I've never been fashionable, so I'll never be out of fashion.

I send a text every day to my partner Cath, saying 'I love you.'

Country songs are theatrical songs, they tell stories, and wear the hearts on their sleeves and they have great melodies.

I just work so much and so hard that I love the idea of being around family, friends and my animals quietly at home, just chilling out.

Les Mis' was an amazing experience, to be in the original cast of 'Les Miserables,' and 'Chitty Chitty Bang Bang' God bless it that was fantastic, at the London Palladium the biggest theatre in London the most successful show that has ever been at the London Palladium, that was fantastic.

I particularly like Alan Moore and Neil Gaiman. Both writers have wit and imagination and the breadth of stories they tell coupled with extraordinary artwork make for fascinating reading.

As a person, Stephen Sondheim is a very funny, very dry and very shy man. I've never witnessed any diva-ish moments, he just always seems so thrilled people are doing his work.

I understand the power of music, I understand the therapeutic nature of music, the sense of community that music engenders, so I totally understand why it still goes on, choirs come together as a focal point for a community.

I got involved in the Surrey Country youth theatre which led me to go to drama school where I realised that this was going to have to be my career, and I was really lucky to get big breaks early on.

I love my fans and they follow me everywhere - I recognise a lot of faces.

Bacharach has such a brilliant ear for melody and his music has a completely timeless feel to it; I thought it would be great to do a whole album of his music and to record with a full orchestra and big band which is something I hadn't done before.

I sometimes feel I want to release an album without people knowing it is me.

What does annoy me is when critics use me to ridicule my audience. All the stuff about 'Tesco housewives' and 'the blue-rinse brigade.'

Ah, 'Kismet,' or Carry On Camel, as we called it. I thought the show was shocking. It was the worst designed production ever but it's got a fantastic score. It's not an awfully good book though. You really have to work hard to eke out any laughs from that script.

I will always tour, it's hard work it really is hard work, but the feedback and the buzz you get back from it is worth it.

Songs from the theatre can be taken and put on record in a commercial and contemporary way, be reinvented and become standout tracks on their own.

When I was starting, I was working with actors who came up through the rep system, and they understood the discipline required: you were never late for rehearsal, you were never not ready to go on, you were always prepared; it was about showing respect to the rest of the company.

I have my family life and I think it's important to be able to shut the door and keep the door shut, and that keeps you grounded. You stay in reality.

I'm a fairly traditional British cook, as my partner Cathy doesn't enjoy spicy food, although I like to experiment myself.