"she did not feel that she was acting for historians or nostalgia fans of the future but for audiences of the here and now, people who came into the theatre tonight, sat in their seats and waited for the curtain to go up. Not only were they the ones she wanted to reach, but she wanted to be there when they responded, she did not want to be off in another part of the world while they gazed at a second-hand image on a screen. In fact, she was not sure she could give them anything to respond to without the inducement of their presence." Moreover, the largeness of her facial structure—her bone structure—were so explicit that they could be seen to the last row, but "might have been less than an asset on the screen where the camera enlarges and exaggerates. Her voice and gestures were eloquent theatre props that might have been too much for the screen, necessitating adjustments so basic that she could not make them. And beyond physical equipment ... it is possible that the quality she had as an individual, the unique something about her that transcended technique and craft and fifth-rate writing might not have transcended cameras; it would not have come through to an audience without her physical presence."