Bill Nighy, the acclaimed British actor known for his roles in films such as Love Actually and Living, has shared the unconventional beginnings of his acting career, which involved stealing the complete works of William Shakespeare from a local library. The 74-year-old revealed this surprising detail during an interview on BBC Radio 4's This Cultural Life, explaining how his youthful ambition to impress a girl led him down this unexpected path.
Nighy recounted the moment he decided to apply to the Guildford School of Acting, driven primarily by the attention he received from a girl. "There was a girl who paid some attention to me which was very, very, very intoxicatIng," he admitted, underscoring how this infatuation was the catalyst for his dramatic aspirations. This girl had even gone so far as to write the school on his behalf, securing him an audition—a gesture he jokingly stated, "could have been anything, and I would have tried for it; astronaut, even!"
To prepare for this audition, Nighy faced the challenge of performing two pieces: one from contemporary playwright George Bernard Shaw and the other from Shakespeare himself. The prospect of tackling Shakespeare was not merely academic; it became entangled with his youthful rebellious spirit. Along with his friend Gavin, he hatched the plan to lift the works from the library rather than simply borrowing them like most would. Nighy humorously described this decision as indicative of developing "a criminal mentality."
With the stolen books, Nighy unknowingly memorized parts intended for female characters. While they were out at the pub, they rehearsed, and Nighy ended up preparing Eliza Doolittle’s part from Pygmalion, along with Cesario from Twelfth Night—the female character Viola disguised as a boy. When he performed during the audition, he noticed the panel’s bemusement but was still invited back. He later stated, "We could have borrowed it like everybody else, but for some reason, we were sort of developing a criminal mentality."
Despite his unorthodox start, Nighy successfully gained admission to the Guildford School of Acting, which marked the beginning of his flourishing career. Ironically, even with this heralded entry through Shakespeare’s works, Nighy has openly distanced himself from performing the Bard's plays professionally. Despite recognizing Shakespeare as perhaps the greatest poet of all time, he expressed little interest in performing his works, quipping, “I retired from Shakespeare sometime after... because I don’t have any interest at all.”
Nighy has performed Shakespeare twice during his career—most famously playing Petruchio in The Taming of the Shrew and King Lear alongside Sir Anthony Hopkins at the National Theatre. Yet over the years, he has conveyed his frustration about the constraints of classical performance styles, which he believes can restrict creative expression. Referring to the traditional approaches often required for period pieces, he stated, "Everybody starts standing in a certain way and talking in a certain way."
Nighy’s narrative is not just amusing but also speaks volumes about his character. At age 74, he continues to take risks and challenge norms, both personally and professionally. His theft, albeit presented with humor, symbolically demonstrates the lengths one might go to for passion and the whims of youth. Reflecting on his early experiences, he candidly admitted he would prefer to leave the staging of Shakespearean plays to others. "I understand he's the greatest poet the world has ever known, but the performance of it, I will leave to other people," he stated, providing insight not only to his perspective but also on how he has carved his unique path through the performing arts.
The revelations come at a time when Nighy’s career is gaining renewed attention; he received an Oscar nomination last year for his role as the lead character in Living, which showcased his range as he transitioned from light-hearted romances to deep, nuanced performances. The actor has found himself at the intersection of contemporary and classical acting, without feeling beholden to the conventions of either.
Nighy's anecdote resonates with anyone who's ever acted out of passion—or even mischief. From his lighthearted admission about wanting to impress someone special to the serious consideration of one’s artistic choices, his story blends self-deprecations with the wisdom of years spent engaging with the art form he fell for at such a young age. It is this mix of sincerity and humor which makes Bill Nighy not only engaging as a performer but also relatable as a person who has, like all of us, navigated the quirky roads of life and ambition.
