1 00:00:00,160 --> 00:00:02,920 Speaker 1: This is Alec Baldwin and you were listening to Here's 2 00:00:02,960 --> 00:00:12,639 Speaker 1: the Thing. In the past year, Laurie Metcalf has appeared 3 00:00:13,000 --> 00:00:16,680 Speaker 1: in a hit television show, Roseanne was nominated for an 4 00:00:16,680 --> 00:00:20,520 Speaker 1: Oscar for her appearance in Ladybird and won two Tony's 5 00:00:20,760 --> 00:00:25,040 Speaker 1: one Last Week and one the year before. Joe Mantello, 6 00:00:25,120 --> 00:00:28,280 Speaker 1: who directed her in Three Tall Women, her current play, 7 00:00:28,760 --> 00:00:40,400 Speaker 1: described Metcalf as a monster in the room. She was 8 00:00:40,440 --> 00:00:43,320 Speaker 1: still at Illinois State when she met the actors with 9 00:00:43,400 --> 00:00:46,920 Speaker 1: whom she started one of the world's great theater companies, 10 00:00:47,400 --> 00:00:50,640 Speaker 1: but Steppenwolf was still just a group of friends putting 11 00:00:50,640 --> 00:00:54,120 Speaker 1: on plays in a church. It took a couple of 12 00:00:54,200 --> 00:00:57,080 Speaker 1: years for her to abandon her day job as a 13 00:00:57,160 --> 00:01:00,320 Speaker 1: legal secretary who could type a hundred and twenty words 14 00:01:00,360 --> 00:01:06,160 Speaker 1: a minute. She's best known for her role as Jackie, 15 00:01:06,280 --> 00:01:09,399 Speaker 1: rose Anne's younger sister, but she has also appeared in 16 00:01:09,440 --> 00:01:12,760 Speaker 1: the norm show Getting On the Big Bang Theory, to 17 00:01:12,880 --> 00:01:17,520 Speaker 1: name just a few. Lorie Metcalf has been nominated for 18 00:01:17,560 --> 00:01:21,480 Speaker 1: Emmy Awards ten times, winning three. But even after so 19 00:01:21,560 --> 00:01:25,440 Speaker 1: many years on television sets, it's the stage that Lorie 20 00:01:25,440 --> 00:01:29,840 Speaker 1: Metcalf calls home. I have a phobia of the camera. UM. 21 00:01:29,880 --> 00:01:32,440 Speaker 1: A lot of people like to work with the camera, 22 00:01:32,480 --> 00:01:36,840 Speaker 1: and they understand it. Actors, they know exactly how much 23 00:01:36,880 --> 00:01:40,319 Speaker 1: to give the camera, and they're the camera is their friend. 24 00:01:40,800 --> 00:01:43,959 Speaker 1: And to me, it just becomes this thing in the 25 00:01:44,040 --> 00:01:46,920 Speaker 1: room that I have to pretend like he isn't there 26 00:01:47,120 --> 00:01:51,200 Speaker 1: yes factor in which just makes me self conscious and 27 00:01:51,240 --> 00:01:53,840 Speaker 1: I don't feel as free as I do on a stage. 28 00:01:54,320 --> 00:01:56,640 Speaker 1: One of the joys of doing films is working with 29 00:01:56,760 --> 00:02:01,600 Speaker 1: great camera people, cinematographers and their crew. And I've worked 30 00:02:01,600 --> 00:02:04,440 Speaker 1: with some of the greatest cinematographers in history, you know, 31 00:02:04,480 --> 00:02:07,600 Speaker 1: of of my generation, of my time. But they would 32 00:02:07,600 --> 00:02:11,000 Speaker 1: say to me, we're going to do this, here's this shop, 33 00:02:11,040 --> 00:02:13,480 Speaker 1: We're going to do it in this lens, And very 34 00:02:13,480 --> 00:02:16,440 Speaker 1: early on I had this kind of silly habit of 35 00:02:16,440 --> 00:02:19,160 Speaker 1: saying to them, I really don't care what lends you're on. 36 00:02:19,760 --> 00:02:21,360 Speaker 1: It's not going to affect what I'm going to do. 37 00:02:21,880 --> 00:02:24,200 Speaker 1: The thing I do, I'm gonna do it that way. 38 00:02:24,240 --> 00:02:26,919 Speaker 1: Now if it should I tone it down, should I 39 00:02:26,960 --> 00:02:29,880 Speaker 1: make it bigger, small, or whatever to play to the camera. 40 00:02:30,280 --> 00:02:32,400 Speaker 1: And I found myself incapable of doing that. Do you 41 00:02:32,400 --> 00:02:35,040 Speaker 1: feel the same way yeah, but and maybe that's what 42 00:02:35,120 --> 00:02:38,240 Speaker 1: the piece that I'm missing. I've done such so few 43 00:02:38,280 --> 00:02:41,920 Speaker 1: films that I've never had been able to develop that 44 00:02:42,000 --> 00:02:45,960 Speaker 1: relationship with a cinematographer. So maybe that would be the 45 00:02:46,000 --> 00:02:48,960 Speaker 1: missing piece that would put me more at ease. You 46 00:02:49,000 --> 00:02:51,800 Speaker 1: know that I knew that somebody was watching out for 47 00:02:51,919 --> 00:02:55,040 Speaker 1: it and was giving me, you know, advice, too big, 48 00:02:55,040 --> 00:02:57,400 Speaker 1: too small, or I don't even know what else it 49 00:02:57,440 --> 00:03:00,240 Speaker 1: would be. But I just feel pretty much that I 50 00:03:00,280 --> 00:03:04,320 Speaker 1: can sort of gauge what I'm doing on a stage 51 00:03:04,400 --> 00:03:06,800 Speaker 1: and in front of a camera. I can't tell at all. 52 00:03:07,280 --> 00:03:10,080 Speaker 1: If the director says, well, we're moving on, or do 53 00:03:10,120 --> 00:03:13,360 Speaker 1: you want one more? I always say, oh, let's just 54 00:03:13,440 --> 00:03:15,760 Speaker 1: move on, because I don't know what we've got. I'm 55 00:03:15,800 --> 00:03:19,040 Speaker 1: assuming you know that you got it, And so I 56 00:03:19,120 --> 00:03:22,519 Speaker 1: have no clue. How did the experience of shooting Ladybird 57 00:03:22,680 --> 00:03:25,680 Speaker 1: come about? How that they found you? Yeah? I think 58 00:03:25,720 --> 00:03:28,839 Speaker 1: I was on Scott Ruden's radar and the producer and 59 00:03:29,160 --> 00:03:31,720 Speaker 1: he suggested me to Greta Gerwig, and Greta sent me 60 00:03:31,760 --> 00:03:34,160 Speaker 1: the script and I read it and really responded to 61 00:03:34,160 --> 00:03:37,400 Speaker 1: the material, and then she and I had a quick 62 00:03:37,680 --> 00:03:40,400 Speaker 1: phone conversation and hit it off over the phone, and 63 00:03:40,720 --> 00:03:43,720 Speaker 1: it was very small independent movie, and so I thought, oh, 64 00:03:43,800 --> 00:03:45,760 Speaker 1: I haven't done a movie in about ten years, so 65 00:03:45,840 --> 00:03:48,520 Speaker 1: this will be a nice little way to put my 66 00:03:48,560 --> 00:03:50,240 Speaker 1: toe back in the water and see how it is. 67 00:03:50,400 --> 00:03:52,760 Speaker 1: Why hadn't you made a movie in ten years? Nobody 68 00:03:52,760 --> 00:03:56,200 Speaker 1: asked me, it's hard to believe. It's true. Were you 69 00:03:56,240 --> 00:03:58,800 Speaker 1: living a life where you appeared unavailable? Were you traveling 70 00:03:58,800 --> 00:04:02,080 Speaker 1: and doing plays and out of town? I have that 71 00:04:02,240 --> 00:04:04,720 Speaker 1: part that's partly true. Yeah. I had been doing a 72 00:04:04,720 --> 00:04:08,760 Speaker 1: lot of theater, and that's true. Yeah, pack my word 73 00:04:08,760 --> 00:04:15,360 Speaker 1: for it. So um, and then when it exploded, when 74 00:04:15,440 --> 00:04:18,920 Speaker 1: Ladybird exploded, I was unprepared for I I had no 75 00:04:19,000 --> 00:04:23,599 Speaker 1: idea what that that publicity circus train was that you 76 00:04:23,640 --> 00:04:25,800 Speaker 1: have to get on, you know, and ride for for 77 00:04:25,800 --> 00:04:29,880 Speaker 1: for about three months, to all the awards seasons. I 78 00:04:29,880 --> 00:04:33,520 Speaker 1: think I'm spoiled for life working with her. She had 79 00:04:33,560 --> 00:04:37,360 Speaker 1: done all the heavy lifting on on the script itself. 80 00:04:37,720 --> 00:04:39,720 Speaker 1: So the script was in such good shape that there 81 00:04:39,760 --> 00:04:41,599 Speaker 1: were never those days when you get on the set 82 00:04:41,640 --> 00:04:45,120 Speaker 1: and everybody's looking at each other saying this doesn't really work. Um, 83 00:04:45,160 --> 00:04:47,880 Speaker 1: what would you say here? You know, there was never 84 00:04:47,920 --> 00:04:51,960 Speaker 1: that scramble or that uncertainty. Everything was crystal clear from 85 00:04:51,960 --> 00:04:54,719 Speaker 1: from day one, and Greta is just a natural at it. 86 00:04:54,760 --> 00:04:57,960 Speaker 1: She just she gives the kind of notes that, um, 87 00:04:58,560 --> 00:05:01,520 Speaker 1: click with an actor and our do a bowl rather 88 00:05:01,560 --> 00:05:03,800 Speaker 1: than get in your head neck and mess you up, 89 00:05:04,320 --> 00:05:06,680 Speaker 1: and where you start second guessing, Well, I thought I 90 00:05:06,720 --> 00:05:09,159 Speaker 1: was doing the line that way, but they're telling me 91 00:05:09,200 --> 00:05:10,960 Speaker 1: to do it differently, So now what do I do? 92 00:05:11,040 --> 00:05:13,200 Speaker 1: And then you just shut down, You just you just 93 00:05:13,240 --> 00:05:17,320 Speaker 1: become paralyzed in your head. Whether it's television what you've 94 00:05:17,320 --> 00:05:19,920 Speaker 1: done quite a bit of or film. Had you worked 95 00:05:19,920 --> 00:05:23,960 Speaker 1: with a woman director before, Yeah, I have, Well no, 96 00:05:24,160 --> 00:05:26,440 Speaker 1: not in film because I just haven't done that much 97 00:05:26,440 --> 00:05:28,640 Speaker 1: a lot of female directors. And TV though, yeah, and 98 00:05:28,880 --> 00:05:32,000 Speaker 1: uh and theater yeah, um. And the TV that I've 99 00:05:32,040 --> 00:05:37,080 Speaker 1: done though has been limited also because it's been sitcoms mostly, um, 100 00:05:37,120 --> 00:05:40,719 Speaker 1: you know, four camera some women directors, but just that 101 00:05:41,000 --> 00:05:44,839 Speaker 1: it's just that style. You know. I've done very little 102 00:05:45,000 --> 00:05:49,280 Speaker 1: single camera TV, so this four camera sitcom style is 103 00:05:49,320 --> 00:05:55,640 Speaker 1: also very different, a different beast definitely from theater and film, 104 00:05:55,680 --> 00:05:57,799 Speaker 1: and that was a huge learning curve for me. Also 105 00:05:57,839 --> 00:06:02,279 Speaker 1: stepping into Roseanne third years ago again we did the pilot, 106 00:06:02,520 --> 00:06:06,880 Speaker 1: my god, but when you when you do that, let's 107 00:06:06,920 --> 00:06:13,000 Speaker 1: ease into that and the the uh. But when you work, 108 00:06:13,320 --> 00:06:14,640 Speaker 1: is there a difference for you when you work with 109 00:06:14,680 --> 00:06:17,600 Speaker 1: a woman director or a man director. Honestly, I think 110 00:06:17,600 --> 00:06:19,840 Speaker 1: it just boils down to the person. And with this 111 00:06:19,920 --> 00:06:23,560 Speaker 1: person there was a feminine vibe I will say with Greta, 112 00:06:23,600 --> 00:06:27,039 Speaker 1: because she's very maternal, and you felt I think everybody 113 00:06:27,040 --> 00:06:31,480 Speaker 1: in the cast and crew felt very well protected. UM cherished, 114 00:06:32,080 --> 00:06:37,960 Speaker 1: UM listened to UM, but but very safe. And And 115 00:06:38,040 --> 00:06:41,000 Speaker 1: I can label that, you know, because she's a woman, 116 00:06:41,120 --> 00:06:43,479 Speaker 1: or I can just label it because it's Greta, you know, 117 00:06:43,600 --> 00:06:47,359 Speaker 1: just the person. You grew up in Illinois, southern Illinois, 118 00:06:47,480 --> 00:06:51,400 Speaker 1: and what'd your dad do? Controller at Illinois State University. 119 00:06:51,560 --> 00:06:54,760 Speaker 1: And she was a librarian. And there were how many 120 00:06:54,839 --> 00:06:57,560 Speaker 1: kids in your family? Just three? How many boys? How 121 00:06:57,560 --> 00:07:00,320 Speaker 1: many girls? I'm the oldest, and then us sister and 122 00:07:00,320 --> 00:07:08,440 Speaker 1: her brothers. I don't know. I UM used to put 123 00:07:08,520 --> 00:07:14,280 Speaker 1: on UM records of musicals and lip sync to them 124 00:07:14,560 --> 00:07:17,520 Speaker 1: fly through the air in the in the in the 125 00:07:17,520 --> 00:07:21,480 Speaker 1: backyard on a swing set, or or just like lip 126 00:07:21,520 --> 00:07:27,360 Speaker 1: syncing UM to Gypsy in the living room. Not even 127 00:07:27,400 --> 00:07:29,960 Speaker 1: for anybody to watch, just to do it. I don't know, 128 00:07:30,000 --> 00:07:34,040 Speaker 1: but I so that was in me. But it wasn't 129 00:07:34,080 --> 00:07:37,320 Speaker 1: about performing it. It was sort of about a feeling 130 00:07:37,400 --> 00:07:42,120 Speaker 1: of interpreting it, using their singing and just mouthing it, 131 00:07:42,200 --> 00:07:45,440 Speaker 1: but feeling like I was interpreting it. Something about that 132 00:07:45,480 --> 00:07:48,680 Speaker 1: clicked with me. But then I was much too practical 133 00:07:48,800 --> 00:07:53,000 Speaker 1: to go into theater in college. I thought I'd never 134 00:07:53,000 --> 00:07:56,720 Speaker 1: make a living at it. So um, Illinois State University. 135 00:07:57,840 --> 00:08:07,480 Speaker 1: German the most practical of all because German musical Germans. Well, 136 00:08:07,760 --> 00:08:10,160 Speaker 1: but I thought i'd be a translator, you know. So 137 00:08:10,240 --> 00:08:14,360 Speaker 1: there was something about language German. No, I don't think so, 138 00:08:14,600 --> 00:08:23,120 Speaker 1: not that I know of a swing set. She thinking German. Well, 139 00:08:23,320 --> 00:08:25,280 Speaker 1: we had a choice of two languages to pick in 140 00:08:25,360 --> 00:08:27,320 Speaker 1: high school. I picked that one and I liked it. 141 00:08:27,360 --> 00:08:31,120 Speaker 1: I ended up liking the language. There are definite rules 142 00:08:31,160 --> 00:08:35,559 Speaker 1: to it. It's very rigid, and I like that. Yeah 143 00:08:35,640 --> 00:08:39,800 Speaker 1: it is. Yeah, And then fell in with the group 144 00:08:39,880 --> 00:08:44,200 Speaker 1: that became Steppenwolf at Illinois State. Yes, that's what happened. 145 00:08:44,880 --> 00:08:49,800 Speaker 1: Jeff Perry, Terry Kinney, John Malkovich were going to school there. Yeah, 146 00:08:51,040 --> 00:08:53,400 Speaker 1: all those people I didn't even know this. All of 147 00:08:53,440 --> 00:08:57,800 Speaker 1: them went to school down there. Jane, Terry, well Joan. 148 00:08:58,600 --> 00:09:02,160 Speaker 1: Joan didn't go to school there. Harry, Jeff, Perry, and 149 00:09:02,480 --> 00:09:06,480 Speaker 1: Malkovich all went there. UM Gary Sonice was up in 150 00:09:06,640 --> 00:09:08,880 Speaker 1: Highland Park. He didn't go to college, so he was 151 00:09:08,920 --> 00:09:15,480 Speaker 1: like our uh, our wingman for for for being up 152 00:09:15,520 --> 00:09:18,000 Speaker 1: in Highland Park and scoring us you know a place 153 00:09:18,000 --> 00:09:22,720 Speaker 1: wheretorcycle where we where we could do our our sad 154 00:09:22,720 --> 00:09:25,680 Speaker 1: little one ax. Joane did come into the group later, 155 00:09:25,760 --> 00:09:29,240 Speaker 1: she did not go to UM Illinois State. Who did 156 00:09:29,240 --> 00:09:32,880 Speaker 1: you meet first? Uh, Terry Kinney and then Jeff and 157 00:09:32,880 --> 00:09:35,320 Speaker 1: then John and you met them where you met him 158 00:09:35,320 --> 00:09:37,440 Speaker 1: in a class, in an acting class or on the 159 00:09:37,480 --> 00:09:41,000 Speaker 1: street or um. I was, does that group know they 160 00:09:41,000 --> 00:09:44,840 Speaker 1: want to become Steppenwolf? Yeah? I know, I know. I 161 00:09:44,880 --> 00:09:49,080 Speaker 1: was actually um dabbling in theater, but I was you know, 162 00:09:49,160 --> 00:09:51,880 Speaker 1: my I was a German major, so I wasn't going 163 00:09:51,920 --> 00:09:55,520 Speaker 1: to go down in the theater room. I was Terry's girlfriend, 164 00:09:56,080 --> 00:09:58,240 Speaker 1: and so I got brought into the mix as the 165 00:09:58,280 --> 00:10:01,000 Speaker 1: girlfriend and then and that that's how I got introduced 166 00:10:01,000 --> 00:10:04,320 Speaker 1: to everybody. And what do you do first? Did you 167 00:10:04,320 --> 00:10:06,520 Speaker 1: all say let's form a group? Of theater group, or 168 00:10:06,679 --> 00:10:09,600 Speaker 1: we said, let's form a theater group for the summer 169 00:10:10,320 --> 00:10:15,679 Speaker 1: for one summer, and we um found a church basement 170 00:10:15,679 --> 00:10:17,679 Speaker 1: who charged us, you know, a dollar a month, and 171 00:10:17,720 --> 00:10:19,880 Speaker 1: we built some risers and put some shares in there 172 00:10:19,920 --> 00:10:24,040 Speaker 1: and did four one axe and uh, I thought well 173 00:10:24,040 --> 00:10:27,280 Speaker 1: that'll be it. But then we thought, let's do another one, 174 00:10:27,320 --> 00:10:29,439 Speaker 1: and then another and another. So there was no plan. 175 00:10:29,880 --> 00:10:33,640 Speaker 1: It just evolved. When did it change? Probably changed, I 176 00:10:33,640 --> 00:10:36,760 Speaker 1: would say like about five years later when we were 177 00:10:36,800 --> 00:10:39,720 Speaker 1: able to quit our day jobs and join equity and 178 00:10:39,760 --> 00:10:44,320 Speaker 1: then also move into the city into a place space 179 00:10:44,360 --> 00:10:46,640 Speaker 1: you found. It became the step in Wolf Theater. We 180 00:10:46,720 --> 00:10:49,120 Speaker 1: found a space first that was in a Jane Adams 181 00:10:49,240 --> 00:10:52,480 Speaker 1: Hull house that we rented, and then from there we 182 00:10:52,600 --> 00:10:56,120 Speaker 1: moved it took over from a group called St. Nicholas Theater, 183 00:10:57,080 --> 00:10:59,400 Speaker 1: took over their space, and then by that time we 184 00:10:59,440 --> 00:11:05,920 Speaker 1: had built up a really good board and with their backing, 185 00:11:06,000 --> 00:11:08,760 Speaker 1: we were able to build a place from scratch, from 186 00:11:08,800 --> 00:11:12,120 Speaker 1: the ground up, literally, which we're still in now. They're 187 00:11:12,160 --> 00:11:16,520 Speaker 1: still there now. In New York, you hear about Stepping Wolf. 188 00:11:16,559 --> 00:11:19,480 Speaker 1: I remember when that takes off, you know when in 189 00:11:19,520 --> 00:11:22,320 Speaker 1: New York everybody was like they talked about stepping bof 190 00:11:22,320 --> 00:11:25,719 Speaker 1: like it was heroin. I mean, like like the chicest thing. Well, 191 00:11:25,760 --> 00:11:28,960 Speaker 1: the first thing that happened was that Malkovich and Gary 192 00:11:28,960 --> 00:11:32,560 Speaker 1: Snee brought in um True West. That was the first one. 193 00:11:32,679 --> 00:11:35,560 Speaker 1: That was the first one that traveled to New York. Yeah, 194 00:11:35,720 --> 00:11:39,000 Speaker 1: and then after that it was Balman Gilead, and that 195 00:11:39,040 --> 00:11:41,120 Speaker 1: one came in and ran for like nine months and 196 00:11:41,200 --> 00:11:43,680 Speaker 1: was everybody was talking about it and it was such 197 00:11:43,679 --> 00:11:47,120 Speaker 1: a cool time to be in uh in New York. 198 00:11:47,200 --> 00:11:49,680 Speaker 1: That was eight three, I think. And we had music 199 00:11:49,720 --> 00:11:53,800 Speaker 1: in that show by Springsteen, Ricky Lee Jones, and Tom Waits. 200 00:11:53,880 --> 00:11:56,920 Speaker 1: They all came to see the show. You know. It 201 00:11:57,120 --> 00:12:00,360 Speaker 1: was wild. Where did you do Gilead off Broadway? Yeah? 202 00:12:00,440 --> 00:12:04,120 Speaker 1: At Circle Rep. It's it's gone now. But the one downtown, Yeah, 203 00:12:04,280 --> 00:12:06,800 Speaker 1: I did to a kiss down there. Yeah, the one 204 00:12:06,800 --> 00:12:10,800 Speaker 1: down on Sheridan Square, Yes, yes, exactly. Yeah, I sub 205 00:12:10,920 --> 00:12:14,560 Speaker 1: let her apartment. I remember that when you were you 206 00:12:14,559 --> 00:12:18,160 Speaker 1: were in New York and people couldn't stop talking about 207 00:12:19,200 --> 00:12:22,560 Speaker 1: you guys. It was just a different style. It was different. 208 00:12:22,679 --> 00:12:26,040 Speaker 1: It was well they called it rock and roll theater, 209 00:12:26,400 --> 00:12:29,400 Speaker 1: but um, I think it was just a shared passion 210 00:12:29,440 --> 00:12:32,600 Speaker 1: that we had that made us just light up on 211 00:12:32,800 --> 00:12:38,040 Speaker 1: stage convention. Yes, Yes, that's what I remember about them. 212 00:12:38,120 --> 00:12:43,720 Speaker 1: Yes and uh. And those plays were perfect um vehicles 213 00:12:43,760 --> 00:12:48,160 Speaker 1: for that dark yes some of them. And funny. Yeah. 214 00:12:48,480 --> 00:12:50,160 Speaker 1: It's kind of kind of the mix of like a 215 00:12:50,200 --> 00:12:53,880 Speaker 1: Martin McDonough, you know, he's a bit a bit of 216 00:12:53,880 --> 00:12:57,680 Speaker 1: step In Wolf and him. Yeah, and theatrical, that's what 217 00:12:57,720 --> 00:12:59,920 Speaker 1: they were. They didn't back off. It wasn't trying to 218 00:13:00,040 --> 00:13:03,560 Speaker 1: be super realistic or supernatural. Paul mcgilly had had some 219 00:13:03,679 --> 00:13:07,719 Speaker 1: really strong theatrical moments in it where lights would go 220 00:13:07,920 --> 00:13:11,280 Speaker 1: out and a spotlight would hit a character and everybody's frozen, 221 00:13:11,360 --> 00:13:14,199 Speaker 1: and you'd hear the character say two lines and then 222 00:13:14,360 --> 00:13:16,560 Speaker 1: lights pop back up again and you're in a diner 223 00:13:16,600 --> 00:13:19,240 Speaker 1: and it would come to life again. You know, what's 224 00:13:19,240 --> 00:13:21,360 Speaker 1: a show that really stands out that you did back 225 00:13:21,360 --> 00:13:23,520 Speaker 1: then that you always remember what's the performance you gave. 226 00:13:24,120 --> 00:13:26,880 Speaker 1: If you close your eyes, you can remember where you 227 00:13:26,960 --> 00:13:29,240 Speaker 1: were and when you're holding what you were wearing. Yeah, 228 00:13:29,400 --> 00:13:31,640 Speaker 1: I've got a number of them. I think that was 229 00:13:31,679 --> 00:13:35,559 Speaker 1: certainly one, and even before then was a production of 230 00:13:35,600 --> 00:13:38,079 Speaker 1: Glass Menagerie that we did way back in that little 231 00:13:38,080 --> 00:13:42,400 Speaker 1: basement with uh Malkovich was Tom and Terry Kinney was 232 00:13:42,440 --> 00:13:44,280 Speaker 1: a gentleman caller, and we had a local woman who 233 00:13:44,400 --> 00:13:49,200 Speaker 1: was played Amanda, and uh that was the production that 234 00:13:49,320 --> 00:13:52,760 Speaker 1: made we were out in the suburbs, that made critics 235 00:13:52,840 --> 00:13:55,720 Speaker 1: in towns sit up and take notice of the Stepping 236 00:13:55,760 --> 00:13:58,440 Speaker 1: Wolf Company and they would start driving up, you know, 237 00:13:58,520 --> 00:14:01,760 Speaker 1: to see our shows. It was it was, I don't 238 00:14:01,760 --> 00:14:08,000 Speaker 1: know what made it different. It was like, um, John 239 00:14:08,840 --> 00:14:14,000 Speaker 1: didn't try to hide that Tom was gay and desperately, 240 00:14:14,240 --> 00:14:17,000 Speaker 1: you know, lonely and wanting to meet somebody. And I 241 00:14:17,040 --> 00:14:22,120 Speaker 1: didn't try to hide that Laura was not um mentally ill, 242 00:14:22,960 --> 00:14:25,120 Speaker 1: you know, and that there was no clearly no hope 243 00:14:25,160 --> 00:14:27,560 Speaker 1: at all. It wasn't. Sometimes it can be played like 244 00:14:27,600 --> 00:14:32,120 Speaker 1: a young pretty girl who if she's fragile, fragile and 245 00:14:32,160 --> 00:14:37,880 Speaker 1: if yes, and if she if she had a nice dress, yeah, yeah, yeah, 246 00:14:37,960 --> 00:14:42,320 Speaker 1: make the make the balls or choice, you know, yeah, yes, 247 00:14:42,880 --> 00:14:46,560 Speaker 1: Now you were you were dating Kenny, he was your 248 00:14:46,560 --> 00:14:49,040 Speaker 1: boyfriend at the time. Does that end in the middle 249 00:14:49,080 --> 00:14:54,200 Speaker 1: of the ascension of Uh, Well, we were a very 250 00:14:54,480 --> 00:14:57,200 Speaker 1: um insular group and so there was a lot of 251 00:14:57,240 --> 00:15:01,120 Speaker 1: mixing and matching, right like in a rock band like 252 00:15:01,120 --> 00:15:06,480 Speaker 1: Flip with Mac. Yeah, we were all sleeping with each other, yes, yeah, yeah, yeah, 253 00:15:06,520 --> 00:15:10,280 Speaker 1: so which made a lot of also awkward in fighting 254 00:15:10,440 --> 00:15:13,600 Speaker 1: and you know like, well I can't, yeah, I can't 255 00:15:13,600 --> 00:15:15,440 Speaker 1: be in that play because you know, I've just now 256 00:15:15,480 --> 00:15:17,880 Speaker 1: broken up with him, so you know, I'm gonna have 257 00:15:17,920 --> 00:15:20,640 Speaker 1: to look somewhere else. But yeah, I know, it was, 258 00:15:20,720 --> 00:15:23,400 Speaker 1: it was. It was in that sense. It was also 259 00:15:23,480 --> 00:15:26,520 Speaker 1: a very theatrical time. You know, the highs or highs 260 00:15:26,560 --> 00:15:31,800 Speaker 1: and the lows were all crazy. All we wanted to 261 00:15:31,840 --> 00:15:34,800 Speaker 1: do was hang out together, make each other either laugh 262 00:15:34,920 --> 00:15:38,920 Speaker 1: or cry. And but we took the um the work 263 00:15:38,960 --> 00:15:42,480 Speaker 1: part very seriously and that made us all better, you know, 264 00:15:42,520 --> 00:15:44,600 Speaker 1: because we were having to play parts we wouldn't be 265 00:15:44,720 --> 00:15:50,160 Speaker 1: cast in anywhere else because we were all the same age, 266 00:15:50,600 --> 00:15:53,360 Speaker 1: and we couldn't find plays you know that would accommodate that. 267 00:15:53,480 --> 00:15:56,200 Speaker 1: So we'd have so I'd have to be the mom 268 00:15:56,280 --> 00:15:59,760 Speaker 1: in Malkovich's Mom in True West, and then I'd have 269 00:15:59,800 --> 00:16:03,120 Speaker 1: to be his little niece in the fifth of July 270 00:16:03,520 --> 00:16:08,120 Speaker 1: to cover the gamuts. Yes, So, so we ultimately ended 271 00:16:08,200 --> 00:16:12,320 Speaker 1: up stretching ourselves into areas that we had no business 272 00:16:12,440 --> 00:16:15,520 Speaker 1: going into would you say that it kind of unravels 273 00:16:15,520 --> 00:16:21,320 Speaker 1: and everybody they start to come apart because stardom intervenes. 274 00:16:21,520 --> 00:16:24,880 Speaker 1: Who's the first person becomes a star And what's the 275 00:16:24,880 --> 00:16:27,040 Speaker 1: first thing he stars in? Oh? He We did that 276 00:16:27,480 --> 00:16:31,560 Speaker 1: movie with Sally Field. He played a blind character. He 277 00:16:32,360 --> 00:16:35,880 Speaker 1: made chairs Places in the Heart. That's that's the movie 278 00:16:35,920 --> 00:16:38,280 Speaker 1: that took him out of the mix for a while. 279 00:16:38,440 --> 00:16:40,840 Speaker 1: And believe me, I mean we were so naive and 280 00:16:40,920 --> 00:16:43,560 Speaker 1: so inbread and everything at that point. It is like 281 00:16:43,680 --> 00:16:46,600 Speaker 1: John had this offer to go be in a movie 282 00:16:46,680 --> 00:16:49,560 Speaker 1: and we all had a big company meeting about it, 283 00:16:49,880 --> 00:16:53,800 Speaker 1: deciding whether or not to let him do John had 284 00:16:53,840 --> 00:16:57,760 Speaker 1: his out. Yes, yes, did anyone vote not to let 285 00:16:57,800 --> 00:17:00,320 Speaker 1: him leave? Probably? I don't remember, you know, because we 286 00:17:00,360 --> 00:17:02,720 Speaker 1: did our voting like little kids. We would put our 287 00:17:02,760 --> 00:17:06,440 Speaker 1: heads down on the table and raise our raise our hands. 288 00:17:06,480 --> 00:17:08,840 Speaker 1: And whoever had to be artistic director at that time, 289 00:17:08,880 --> 00:17:12,040 Speaker 1: because that was a thankless, worthless job nobody wanted that 290 00:17:12,320 --> 00:17:15,000 Speaker 1: had to count the votes. Yeah, so Jon got to 291 00:17:15,040 --> 00:17:18,320 Speaker 1: go do it. But that's how how you know when 292 00:17:18,359 --> 00:17:22,360 Speaker 1: he came back and what happened? Well, I think that 293 00:17:22,359 --> 00:17:24,760 Speaker 1: that was before True West. I think he made that 294 00:17:25,000 --> 00:17:27,399 Speaker 1: movie before it. I'm not sure the timeline of that, 295 00:17:27,480 --> 00:17:30,960 Speaker 1: but we were so because we started out in a 296 00:17:31,000 --> 00:17:35,280 Speaker 1: little suburb and because we very slowly made our way 297 00:17:35,280 --> 00:17:38,840 Speaker 1: into the city, and because we were centered around Chicago 298 00:17:38,960 --> 00:17:41,440 Speaker 1: and not l A or New York, people kind of 299 00:17:41,520 --> 00:17:44,280 Speaker 1: left us alone for a lot longer that because they 300 00:17:44,320 --> 00:17:46,439 Speaker 1: would have swooped in if we were on the coast 301 00:17:47,080 --> 00:17:50,360 Speaker 1: and just taken everybody or access. Yes we were, yes, 302 00:17:50,400 --> 00:17:55,000 Speaker 1: we were yes. So so that helped us, um, get 303 00:17:55,000 --> 00:17:58,040 Speaker 1: some more traction as a group. They left us alone 304 00:17:58,080 --> 00:18:00,440 Speaker 1: for a longer time. But after places in the heart 305 00:18:00,480 --> 00:18:04,159 Speaker 1: that he become less and less available, well we all 306 00:18:04,200 --> 00:18:11,840 Speaker 1: started to yeah, yeah, well, um, it was a big 307 00:18:11,840 --> 00:18:15,800 Speaker 1: deal that we on mass took bal mc gilead to 308 00:18:15,880 --> 00:18:19,440 Speaker 1: New York. That was a big learning experience for us all. 309 00:18:19,600 --> 00:18:23,160 Speaker 1: And and I ended up making a movie Desperately Seeking 310 00:18:23,200 --> 00:18:26,840 Speaker 1: Susan because I was in town. And but for me 311 00:18:27,000 --> 00:18:30,240 Speaker 1: that didn't spiral out into um, you know, a lot 312 00:18:30,280 --> 00:18:33,840 Speaker 1: more movie or a movie career obviously, but um, we 313 00:18:33,840 --> 00:18:36,879 Speaker 1: were starting to very slowly as a group but also 314 00:18:37,320 --> 00:18:41,000 Speaker 1: individually starting to get known and we became more available 315 00:18:41,040 --> 00:18:44,880 Speaker 1: because we were adding people to the company, and that 316 00:18:44,920 --> 00:18:48,160 Speaker 1: made us more available to take time off, go off 317 00:18:48,160 --> 00:18:50,719 Speaker 1: and do a different project and then return. But for 318 00:18:50,760 --> 00:18:55,000 Speaker 1: a decade, we all tried a lot to return and 319 00:18:55,000 --> 00:18:58,760 Speaker 1: and rejuvenate, you know, get get, get our batteries charged 320 00:18:59,200 --> 00:19:02,160 Speaker 1: on that stage each again. Yes, it definitely was home. 321 00:19:02,840 --> 00:19:04,919 Speaker 1: Who else has come up through the ranks of there in? 322 00:19:05,560 --> 00:19:09,160 Speaker 1: Anybody else I would know? And did that success replicate 323 00:19:09,200 --> 00:19:12,320 Speaker 1: itself with future generations of people? Or you guys it 324 00:19:13,000 --> 00:19:16,480 Speaker 1: and nobody else you ever really became famous after that? Um, boy, 325 00:19:16,600 --> 00:19:19,480 Speaker 1: i'd have to do. You know John Hill, he's a 326 00:19:19,520 --> 00:19:23,320 Speaker 1: young actor that you would recognize. He's um taken off 327 00:19:23,680 --> 00:19:28,800 Speaker 1: after having come into the company. Sally Murphy, um has 328 00:19:28,840 --> 00:19:30,480 Speaker 1: done a lot of work here in New York. She's 329 00:19:30,480 --> 00:19:34,880 Speaker 1: gonna play right now called come Admissions. I think i'd 330 00:19:34,920 --> 00:19:36,840 Speaker 1: have to look. You know, the list has gotten big. 331 00:19:36,880 --> 00:19:40,800 Speaker 1: There's like forty people in the company now and uh 332 00:19:40,880 --> 00:19:42,800 Speaker 1: it's tough for us to get I haven't been back 333 00:19:42,840 --> 00:19:45,240 Speaker 1: in five years. You know, it's tough to go back 334 00:19:45,280 --> 00:19:50,000 Speaker 1: and commit to uh four or five months out of 335 00:19:50,000 --> 00:19:54,440 Speaker 1: a year. And because we're on a subscription season, they 336 00:19:54,480 --> 00:19:57,000 Speaker 1: want to know like at least a year in advance. 337 00:19:57,080 --> 00:20:00,359 Speaker 1: When you can you know, rope off that time. It's hard, right, 338 00:20:00,480 --> 00:20:04,280 Speaker 1: I find segregating that time and protecting that time to 339 00:20:04,359 --> 00:20:06,840 Speaker 1: do a show, it is very difficult. The last show 340 00:20:06,840 --> 00:20:08,280 Speaker 1: I did was with you, when we did the show 341 00:20:08,280 --> 00:20:10,840 Speaker 1: in two thousand fifteen, when you came to New York. 342 00:20:10,920 --> 00:20:13,920 Speaker 1: What was your first show on Broadway? On Broadway? Uh, 343 00:20:14,240 --> 00:20:19,919 Speaker 1: it was November written by David Man, Yeah, with Nathan Lane, 344 00:20:20,119 --> 00:20:23,159 Speaker 1: directed by Joe Mantell and um it was a small 345 00:20:23,240 --> 00:20:27,240 Speaker 1: part and I just wanted to um be in the 346 00:20:27,359 --> 00:20:32,040 Speaker 1: room with those people, those specific it was the political one. Yeah, yeah, 347 00:20:32,160 --> 00:20:36,960 Speaker 1: which I would love to revisit that now because you 348 00:20:37,000 --> 00:20:40,240 Speaker 1: know it's just this idiot sitting in the set with 349 00:20:40,280 --> 00:20:43,240 Speaker 1: the Oval office. I need to go back and read that, 350 00:20:43,359 --> 00:20:45,400 Speaker 1: or we need to do it like as a benefit, 351 00:20:45,520 --> 00:20:47,920 Speaker 1: you know, just do a one reading a reading of it. 352 00:20:47,920 --> 00:20:52,280 Speaker 1: It's wicked, funny, um and more timely now than ever. 353 00:20:52,640 --> 00:20:55,440 Speaker 1: That was your first show on Badway. Yeah. Did you 354 00:20:55,480 --> 00:21:00,280 Speaker 1: feel that Broadway was different? Yeah? I did. I mean 355 00:21:00,520 --> 00:21:02,520 Speaker 1: it's you know, it's the same amount of work that 356 00:21:02,560 --> 00:21:05,359 Speaker 1: you put in, whether it's there or at Guildhall or 357 00:21:05,640 --> 00:21:08,679 Speaker 1: even a smaller space like for fifties seats. You know, 358 00:21:09,200 --> 00:21:12,000 Speaker 1: the work is the same. You're still doing, you're putting 359 00:21:12,040 --> 00:21:15,400 Speaker 1: in and you want wanted the best that it can be, 360 00:21:15,760 --> 00:21:17,720 Speaker 1: and you never give up working on it during the 361 00:21:17,760 --> 00:21:21,639 Speaker 1: whole run. But yeah, it's startling to walk out on 362 00:21:21,680 --> 00:21:24,640 Speaker 1: a set that big. And we went from the rehearsal 363 00:21:24,720 --> 00:21:29,720 Speaker 1: room to invited dress and it was packed with a 364 00:21:29,800 --> 00:21:34,600 Speaker 1: thousand actors, you know, And that was a friend. Yes, 365 00:21:34,720 --> 00:21:38,200 Speaker 1: that was quite a shock. That was my first first 366 00:21:38,200 --> 00:21:40,600 Speaker 1: time there. But I got burned on a show called 367 00:21:41,000 --> 00:21:44,280 Speaker 1: Brighton Beach Memoirs that was supposed to open up in 368 00:21:44,359 --> 00:21:47,840 Speaker 1: REP with Broadway Bound, and I've never done REP before, 369 00:21:48,119 --> 00:21:50,600 Speaker 1: so I thought, oh, this will be really interesting and 370 00:21:50,640 --> 00:21:52,800 Speaker 1: it's on Broadway so I can be in New York. 371 00:21:52,920 --> 00:21:57,040 Speaker 1: And it's uh, these two plays go very really well together. 372 00:21:57,160 --> 00:22:00,960 Speaker 1: Neil Simon, it's the same family, but a decade later 373 00:22:01,640 --> 00:22:04,600 Speaker 1: and uh, I don't think he ever yes, well he 374 00:22:04,680 --> 00:22:07,199 Speaker 1: wasn't in it, No, but I don't think that that. 375 00:22:07,359 --> 00:22:09,919 Speaker 1: Neil Simon never meant them to be to to go 376 00:22:10,040 --> 00:22:12,760 Speaker 1: together and REP. But they just it was a natural. 377 00:22:13,400 --> 00:22:16,760 Speaker 1: Everything turned out wrong about it. They opened up one 378 00:22:16,840 --> 00:22:19,119 Speaker 1: and expected it to take off and it didn't. And 379 00:22:19,119 --> 00:22:21,919 Speaker 1: then the other one we had fully rehearsed it, and 380 00:22:21,920 --> 00:22:24,200 Speaker 1: we had the costumes, we had everything, and it never 381 00:22:24,280 --> 00:22:26,200 Speaker 1: even saw the light of day. And the first one 382 00:22:26,280 --> 00:22:30,119 Speaker 1: closed after three weeks, and it was that was a 383 00:22:30,200 --> 00:22:35,440 Speaker 1: huge low. I had relocated, not my family, but one 384 00:22:35,480 --> 00:22:38,240 Speaker 1: of my kids out, had them in school. This was 385 00:22:38,240 --> 00:22:40,720 Speaker 1: a real of the material. Yes, and I was trying 386 00:22:40,960 --> 00:22:43,880 Speaker 1: and and and I had signed off for a year, 387 00:22:44,520 --> 00:22:46,800 Speaker 1: thinking okay, well these things are going to run for 388 00:22:46,880 --> 00:22:50,440 Speaker 1: that long. And and after three weeks, well a rehearsal period, 389 00:22:50,480 --> 00:22:53,320 Speaker 1: and then three weeks you know, every we have a 390 00:22:53,359 --> 00:22:56,760 Speaker 1: toast on stage. You know, well this didn't work, sorry everybody. 391 00:22:56,760 --> 00:22:59,879 Speaker 1: By and then I was stuck with this apartment in 392 00:23:00,000 --> 00:23:01,640 Speaker 1: New York and my kid in school, and I would 393 00:23:01,680 --> 00:23:04,080 Speaker 1: just like walk take him to school and then walk 394 00:23:04,200 --> 00:23:06,639 Speaker 1: up and down the sidewalks, thinking what the hell am 395 00:23:06,640 --> 00:23:09,080 Speaker 1: I going to do? What am I? It was really 396 00:23:10,880 --> 00:23:13,840 Speaker 1: I was stuck with no work for about a month, 397 00:23:13,920 --> 00:23:17,520 Speaker 1: and then for some reason, um Ethan Hawk gave me 398 00:23:17,560 --> 00:23:20,280 Speaker 1: a call and said, well, there's no money here at all, 399 00:23:20,320 --> 00:23:22,400 Speaker 1: but you want to come down and do a lie 400 00:23:22,440 --> 00:23:24,960 Speaker 1: of the mind with us down at the Group theater. 401 00:23:25,119 --> 00:23:27,640 Speaker 1: So that was something to work on, and that got 402 00:23:27,640 --> 00:23:32,400 Speaker 1: me out of my head, you know. Oh. I talked 403 00:23:32,440 --> 00:23:34,960 Speaker 1: to Lorie a couple of months ago, just before the 404 00:23:35,040 --> 00:23:40,199 Speaker 1: recent cancelation of Roseanne. After it all happened, I called 405 00:23:40,359 --> 00:23:44,080 Speaker 1: to get her take on ABC's decision. Lorie declined to comment. 406 00:23:45,680 --> 00:23:47,840 Speaker 1: Coming up, we talked about what it was like to 407 00:23:47,960 --> 00:24:02,840 Speaker 1: gather the team, cast and crew together. Again, this is 408 00:24:02,840 --> 00:24:07,480 Speaker 1: Alec Baldwin and you're listening to. Here's the thing. Although 409 00:24:07,720 --> 00:24:11,520 Speaker 1: Lori Metcalf's heart is in the theater, she's always cautious 410 00:24:11,560 --> 00:24:14,560 Speaker 1: about what roles she chooses. I did a roll of 411 00:24:14,640 --> 00:24:18,760 Speaker 1: the dice last year Doll's House Part two, and that 412 00:24:18,800 --> 00:24:23,760 Speaker 1: went well. It went well, yes, but I didn't know, 413 00:24:24,200 --> 00:24:26,200 Speaker 1: um it was a roll of the dice because when 414 00:24:26,400 --> 00:24:29,159 Speaker 1: Scott Rutten sent me the script and I thought, this 415 00:24:29,240 --> 00:24:32,520 Speaker 1: is either going to be really really funny and clever 416 00:24:32,760 --> 00:24:37,120 Speaker 1: or really bad. The nerve that takes name's name your 417 00:24:37,160 --> 00:24:39,960 Speaker 1: play a Doll's House Part two and Lucas Naith. I 418 00:24:40,040 --> 00:24:42,080 Speaker 1: knew of him as a writer, but I didn't know him. 419 00:24:42,119 --> 00:24:44,520 Speaker 1: And I knew of Sam Gold as a director, but 420 00:24:44,560 --> 00:24:47,600 Speaker 1: I hadn't worked with him, and the play wasn't finished. Yeah, 421 00:24:47,600 --> 00:24:50,120 Speaker 1: I mean it was finished, but it was really raw, 422 00:24:50,320 --> 00:24:53,520 Speaker 1: and that we were going to do workshops and so 423 00:24:53,680 --> 00:24:56,720 Speaker 1: it's it's it's scary to go out on that limb 424 00:24:56,720 --> 00:24:59,240 Speaker 1: and commit yourself to something that you have no idea 425 00:24:59,359 --> 00:25:01,400 Speaker 1: how it's going to turn out. But it had got 426 00:25:01,480 --> 00:25:03,800 Speaker 1: Rouden behind it, so I knew that it would be 427 00:25:04,080 --> 00:25:07,520 Speaker 1: take care of. When you and I did the Miller together, 428 00:25:07,880 --> 00:25:10,320 Speaker 1: you've done it a couple of times before, and one 429 00:25:10,359 --> 00:25:13,199 Speaker 1: of them was in London. Correct. Was it different for 430 00:25:13,200 --> 00:25:15,159 Speaker 1: you there? You find the difference between performing there and 431 00:25:15,160 --> 00:25:19,080 Speaker 1: in the United States, Well, I did because it was 432 00:25:19,119 --> 00:25:23,840 Speaker 1: at the National, So the National is so specific. Um. 433 00:25:23,880 --> 00:25:27,400 Speaker 1: I loved the vibe that there's these three theaters, the big, 434 00:25:27,840 --> 00:25:30,560 Speaker 1: medium and the small one, and they all feed into 435 00:25:30,640 --> 00:25:33,960 Speaker 1: this communal lobby and there's a great restaurant there and 436 00:25:33,960 --> 00:25:36,919 Speaker 1: everybody's having drinks before their show and then the and 437 00:25:36,920 --> 00:25:40,200 Speaker 1: then the whole place just sort of uh evaporate. Everybody 438 00:25:40,200 --> 00:25:43,800 Speaker 1: goes into their certain theater that they're seeing and uh 439 00:25:43,840 --> 00:25:47,440 Speaker 1: and then regroups at intermission and then back again. It's 440 00:25:47,440 --> 00:25:49,439 Speaker 1: got a real flow to it that way. So I 441 00:25:49,520 --> 00:25:51,680 Speaker 1: felt it was cool to be a part of that 442 00:25:51,720 --> 00:25:56,080 Speaker 1: specific building. British cast and mixed them with an American 443 00:25:56,119 --> 00:25:57,919 Speaker 1: cast for when you did the Miller over there it 444 00:25:58,080 --> 00:26:00,760 Speaker 1: was mostly British. Yeah, I difference in the way that 445 00:26:00,800 --> 00:26:06,520 Speaker 1: they act rehearse. Do they have a different approach? Would 446 00:26:06,560 --> 00:26:08,640 Speaker 1: you say it's the opposite of the stepping wolf approach. 447 00:26:10,200 --> 00:26:15,480 Speaker 1: I wouldn't call it rock and roll. Um. Well yeah, quartet, 448 00:26:16,040 --> 00:26:22,479 Speaker 1: yes exactly. I like to be um really uh um 449 00:26:22,720 --> 00:26:27,880 Speaker 1: theatrical if I can find moments like where the characters theatrical, Yes, exactly. 450 00:26:28,119 --> 00:26:33,239 Speaker 1: When we built yes, we built in some ourselves, you know, 451 00:26:33,320 --> 00:26:36,720 Speaker 1: where there's a shove, things that aren't expected, those are 452 00:26:36,800 --> 00:26:40,920 Speaker 1: theatrical if they're not expected, I guess yeah. Yeah. When 453 00:26:40,960 --> 00:26:45,200 Speaker 1: we did all my sons, remember we had Chris choke me. Yeah, 454 00:26:45,520 --> 00:26:48,399 Speaker 1: he would choke me. Yeah, and we all thought, well, wowhoa, 455 00:26:48,520 --> 00:26:51,000 Speaker 1: I don't know if we should do that. I loved it. 456 00:26:51,640 --> 00:26:54,040 Speaker 1: I do too, because sometimes the trap when you're working 457 00:26:54,119 --> 00:26:57,720 Speaker 1: on a classic that that is you feel like you 458 00:26:57,760 --> 00:26:59,359 Speaker 1: have to treat it with kid gloves. You know, you 459 00:26:59,400 --> 00:27:03,440 Speaker 1: feel like you should wouldn't make those big um choices, 460 00:27:04,040 --> 00:27:07,240 Speaker 1: that you should be more reverential towards the material, but 461 00:27:07,440 --> 00:27:12,359 Speaker 1: that keeps it from being alive and seeming contemporary. I 462 00:27:12,440 --> 00:27:15,199 Speaker 1: always wanted to sneak a camera on stage with me 463 00:27:15,880 --> 00:27:18,639 Speaker 1: for the very last moments of our play because I 464 00:27:18,720 --> 00:27:22,919 Speaker 1: had the best ringside seat available to watch your last monologue. 465 00:27:23,600 --> 00:27:25,560 Speaker 1: I wish I had done it because I'd like to 466 00:27:25,600 --> 00:27:27,600 Speaker 1: have a record of it, But of course I never did. 467 00:27:27,680 --> 00:27:32,320 Speaker 1: But I loved watching that every night. Right. It's a 468 00:27:32,320 --> 00:27:36,000 Speaker 1: great ending. It's a great ending. You know. Now you 469 00:27:36,040 --> 00:27:39,199 Speaker 1: did a play, You did another play right after that. 470 00:27:39,720 --> 00:27:42,840 Speaker 1: You left that show to go do the Stephen King. 471 00:27:44,280 --> 00:27:47,760 Speaker 1: Oh yes, And I asked your advice on that. Do 472 00:27:47,760 --> 00:27:49,840 Speaker 1: you remember? Well? But when you do plays with people 473 00:27:49,840 --> 00:27:53,800 Speaker 1: who this is your doing misery, misery with Bruce Willis, 474 00:27:53,800 --> 00:27:56,639 Speaker 1: who hadn't done a play in how long, like thirty, 475 00:27:58,160 --> 00:28:00,879 Speaker 1: He hadn't been on stage in forty years. He like, 476 00:28:00,960 --> 00:28:03,240 Speaker 1: turn to you like a life preserver and say to 477 00:28:03,240 --> 00:28:07,800 Speaker 1: help me leading on your baby. Was there some of that? Well? 478 00:28:07,840 --> 00:28:10,560 Speaker 1: We were codependent on each other because it was basically 479 00:28:10,600 --> 00:28:13,720 Speaker 1: two people. There was a sheriff that showed up, but 480 00:28:13,880 --> 00:28:17,119 Speaker 1: I shot him dead, you know, towards the end he no, 481 00:28:17,240 --> 00:28:19,639 Speaker 1: he's not no. So it was just the two of 482 00:28:19,720 --> 00:28:22,280 Speaker 1: us and we, you know, we relied on each other 483 00:28:22,680 --> 00:28:27,679 Speaker 1: very much, and Bruce worked his ass. Yes, he had 484 00:28:27,720 --> 00:28:31,040 Speaker 1: a wonderful time. Yeah, thank god. I was worried because 485 00:28:31,119 --> 00:28:34,760 Speaker 1: you know, I didn't know if your co lead is 486 00:28:34,800 --> 00:28:39,160 Speaker 1: having a bad time, you know, it's everybody's miserable. But 487 00:28:39,400 --> 00:28:41,320 Speaker 1: Bruce would show up, you know, like an hour and 488 00:28:41,360 --> 00:28:43,200 Speaker 1: a half early before the shows. Of course, he had 489 00:28:43,240 --> 00:28:46,040 Speaker 1: to get into a bunch of body makeup because he'd been, 490 00:28:46,160 --> 00:28:50,400 Speaker 1: you know, um in an accident and he's got his 491 00:28:50,440 --> 00:28:52,920 Speaker 1: head's all banged up, and he's got scar cuts and 492 00:28:52,960 --> 00:28:55,920 Speaker 1: scars all over his legs. So he was always the 493 00:28:55,960 --> 00:28:58,480 Speaker 1: first one there. He was. Oh, he all. We would 494 00:28:58,480 --> 00:29:01,080 Speaker 1: do you know, like a seven eight hour rehearsal day, 495 00:29:01,120 --> 00:29:04,520 Speaker 1: and then he would go home with uh the dialect 496 00:29:04,520 --> 00:29:07,880 Speaker 1: coach and drill lines over and over and over again. 497 00:29:07,920 --> 00:29:12,600 Speaker 1: He really really cared about it, and U audiences ate 498 00:29:12,640 --> 00:29:15,920 Speaker 1: it up, you know. They It was a different crowd 499 00:29:15,920 --> 00:29:18,239 Speaker 1: than I've ever performed for because it was a lot 500 00:29:18,320 --> 00:29:21,880 Speaker 1: of first time theater goers. Because they wanted to see Bruce. 501 00:29:21,880 --> 00:29:24,320 Speaker 1: They want to see an action hero on stage, and 502 00:29:24,320 --> 00:29:26,240 Speaker 1: and if they had to go, if they had to 503 00:29:26,280 --> 00:29:28,840 Speaker 1: go to theater to see him live, then they went 504 00:29:28,920 --> 00:29:32,400 Speaker 1: to the theater. So these were people that hadn't been 505 00:29:32,840 --> 00:29:38,280 Speaker 1: before let alone on Broadway, and and and the play itself, 506 00:29:39,240 --> 00:29:41,080 Speaker 1: you know, it stemmed from the book, and then it 507 00:29:41,120 --> 00:29:43,400 Speaker 1: went through the movie version, and now they're trying to 508 00:29:43,440 --> 00:29:48,360 Speaker 1: do it as a play. So it was this odd journey. Yeah, 509 00:29:48,400 --> 00:29:51,800 Speaker 1: and it ended up being half this, half that, not 510 00:29:51,800 --> 00:29:54,840 Speaker 1: not any part of that though, and it was just 511 00:29:55,000 --> 00:29:59,560 Speaker 1: was its own animal. So we tried to uh will 512 00:29:59,680 --> 00:30:05,800 Speaker 1: free Stephen Freer's son. We tried to make it also 513 00:30:06,040 --> 00:30:08,360 Speaker 1: as funny as it could be, because there was a 514 00:30:08,360 --> 00:30:12,560 Speaker 1: lot of odd ball humor in it, and audience has 515 00:30:12,600 --> 00:30:14,440 Speaker 1: got to kick out of that. But I it was 516 00:30:14,480 --> 00:30:16,080 Speaker 1: kind of a learning curve for me to wrap my 517 00:30:16,120 --> 00:30:19,200 Speaker 1: head around the fact that, you know, if the script 518 00:30:19,240 --> 00:30:23,640 Speaker 1: never was perfect, if we were never perfect in it, 519 00:30:24,000 --> 00:30:27,040 Speaker 1: the audience was still having a ball and and feeling 520 00:30:27,080 --> 00:30:31,360 Speaker 1: like they were getting their money's worth. I always forget 521 00:30:31,360 --> 00:30:37,200 Speaker 1: all the names of yeah, really think yeah, oh yeah. Oh. 522 00:30:37,280 --> 00:30:41,760 Speaker 1: And and it sold well, he sold the tickets. When 523 00:30:41,800 --> 00:30:45,920 Speaker 1: you think about plays, think about a moment. And I'm 524 00:30:45,920 --> 00:30:48,080 Speaker 1: sure there's many of them, but try to think about 525 00:30:48,080 --> 00:30:51,000 Speaker 1: a moment of you on stage with someone or another 526 00:30:51,040 --> 00:30:53,760 Speaker 1: group of people, and in terms of what acting means 527 00:30:53,840 --> 00:30:57,440 Speaker 1: to you, well, it was one that you just never 528 00:30:57,480 --> 00:30:58,920 Speaker 1: can get out of here. And he thought, this is it, 529 00:30:59,120 --> 00:31:00,960 Speaker 1: this is what it's about out This is what I 530 00:31:01,000 --> 00:31:03,560 Speaker 1: got into this for. I don't know. I'm not going 531 00:31:03,600 --> 00:31:07,680 Speaker 1: to say a specific thing, but it's the feeling of 532 00:31:07,720 --> 00:31:12,240 Speaker 1: being in such control that you know that you've got 533 00:31:12,280 --> 00:31:16,040 Speaker 1: a moment coming up and it's like a big softball, 534 00:31:16,280 --> 00:31:18,920 Speaker 1: this big coming at you and you've got to back 535 00:31:19,080 --> 00:31:21,760 Speaker 1: this big and you're gonna hit it out of the park. 536 00:31:22,080 --> 00:31:25,680 Speaker 1: There's no doubt about it. It's coming and boom you 537 00:31:25,720 --> 00:31:28,480 Speaker 1: get to do it, and you hear the immediate reaction 538 00:31:28,640 --> 00:31:31,000 Speaker 1: from the from the audience, whether it's a laugh or 539 00:31:31,000 --> 00:31:35,000 Speaker 1: whether it's a sob whatever it is, or whether it's 540 00:31:35,000 --> 00:31:38,760 Speaker 1: a you can hear a pin drop. And it's that control, 541 00:31:39,000 --> 00:31:41,800 Speaker 1: I think. And you've done your homework and you know 542 00:31:41,920 --> 00:31:45,400 Speaker 1: exactly what you're doing in that moment, and and you 543 00:31:45,440 --> 00:31:47,480 Speaker 1: know it's going to be a surprise to them, and 544 00:31:47,560 --> 00:31:50,200 Speaker 1: you know you'd like to be in the audience with 545 00:31:50,240 --> 00:31:54,600 Speaker 1: this thing coming up. And I love that moment. I 546 00:31:54,640 --> 00:31:56,680 Speaker 1: always tell people when you when you when you see 547 00:31:56,720 --> 00:32:00,440 Speaker 1: a play that I've ever been in, I ruined play 548 00:32:00,920 --> 00:32:02,880 Speaker 1: people with me as I'll lean over and I go. 549 00:32:03,040 --> 00:32:06,479 Speaker 1: I didn't do it that way. I had this thing 550 00:32:06,520 --> 00:32:08,760 Speaker 1: I used to do with this bottle. I mean I didn't. 551 00:32:08,800 --> 00:32:11,600 Speaker 1: I didn't do it that way at all. You gotta 552 00:32:11,600 --> 00:32:13,280 Speaker 1: do another play. Haven't one up in the I got 553 00:32:13,320 --> 00:32:16,000 Speaker 1: one open right now. You're running in three tall women, 554 00:32:16,040 --> 00:32:18,240 Speaker 1: three tall women. You're doing three tall women the Alby play, 555 00:32:18,320 --> 00:32:22,960 Speaker 1: which I love. And it's you and Glenda Jackson, I know, 556 00:32:23,720 --> 00:32:28,120 Speaker 1: I know, and Allison Pill directed by Joe Mantello. How's 557 00:32:28,160 --> 00:32:30,640 Speaker 1: that been? It was a crazy hard rehearsal period. I 558 00:32:30,680 --> 00:32:33,000 Speaker 1: don't know what well. I've never done Alby, so for 559 00:32:33,040 --> 00:32:35,680 Speaker 1: some reason it was very I found it very slippery. 560 00:32:35,800 --> 00:32:38,440 Speaker 1: And again it's that trap. I started falling into that 561 00:32:38,520 --> 00:32:42,600 Speaker 1: trap of treating a classic with kid gloves, and so 562 00:32:42,640 --> 00:32:44,960 Speaker 1: I had to take those gloves off and just sort 563 00:32:44,960 --> 00:32:48,160 Speaker 1: of um, play just why why? Why? Why was it different? 564 00:32:48,160 --> 00:32:50,240 Speaker 1: In terms of my guesses And this is very lazy 565 00:32:50,280 --> 00:32:53,160 Speaker 1: guess as it all be. His characters are very waspy 566 00:32:53,200 --> 00:32:55,640 Speaker 1: and very cautious, and then and they're not and then 567 00:32:55,760 --> 00:32:59,720 Speaker 1: as volatile. That's a part of it, yes, yeah, but 568 00:33:00,800 --> 00:33:03,120 Speaker 1: where where it's up and running now? And it was 569 00:33:03,240 --> 00:33:07,240 Speaker 1: a play that. Um, the audience taught us a lot 570 00:33:07,800 --> 00:33:10,560 Speaker 1: when we finally got an audience in there. They really 571 00:33:10,600 --> 00:33:13,160 Speaker 1: were the missing piece of the puzzle of this play. 572 00:33:13,280 --> 00:33:17,200 Speaker 1: And now, um, it's it's been very well received and 573 00:33:18,960 --> 00:33:21,320 Speaker 1: goes through June. You're never gonna get up to give 574 00:33:21,360 --> 00:33:24,240 Speaker 1: up doing the theater. I not the theater. No, I 575 00:33:24,240 --> 00:33:26,040 Speaker 1: could give up the other two, but not the theater. 576 00:33:26,560 --> 00:33:30,440 Speaker 1: The rush is so visceral when you're when you have 577 00:33:30,560 --> 00:33:34,760 Speaker 1: those moments and when you build it, you rehearse, you 578 00:33:34,840 --> 00:33:36,480 Speaker 1: live it, you live it, you live it. And I'm 579 00:33:36,480 --> 00:33:39,000 Speaker 1: the kind of actor where I'm fantastic four weeks after 580 00:33:39,040 --> 00:33:41,800 Speaker 1: we open, you come see the show after I'm not 581 00:33:41,840 --> 00:33:45,040 Speaker 1: ready by the time I rehearsal. I think that's normal. 582 00:33:45,320 --> 00:33:47,440 Speaker 1: I I feel that I feel that I'm not either. 583 00:33:47,800 --> 00:33:49,720 Speaker 1: I feel like I got to get a few weeks 584 00:33:49,760 --> 00:33:52,880 Speaker 1: after opening under my belt. So so I appreciate a 585 00:33:52,960 --> 00:33:57,160 Speaker 1: long ish run. Now, um, So, once upon a time 586 00:33:57,360 --> 00:34:00,600 Speaker 1: you did a TV show, and you did this TV show, 587 00:34:00,760 --> 00:34:05,520 Speaker 1: and I mean the Norm McDonald show. That that was 588 00:34:05,560 --> 00:34:08,879 Speaker 1: a great show. I love him, by the way, Yes, 589 00:34:09,760 --> 00:34:12,319 Speaker 1: you did the show with Roseanne bar and that ran 590 00:34:12,400 --> 00:34:16,320 Speaker 1: for how many seasons? Nine? You ran for nine seasons. Now, 591 00:34:16,480 --> 00:34:20,279 Speaker 1: that's old school sitcommun If nobody you're like, if you 592 00:34:20,320 --> 00:34:27,439 Speaker 1: get five, especially at the old schedule, Yes, how would 593 00:34:27,480 --> 00:34:30,319 Speaker 1: you describe that experience? And you're much younger then, and 594 00:34:30,320 --> 00:34:32,600 Speaker 1: the show is a big phenomenon then and then you 595 00:34:32,680 --> 00:34:35,400 Speaker 1: come back. What was it like when you did the 596 00:34:35,400 --> 00:34:37,880 Speaker 1: show the first time? The first time, well, the first 597 00:34:37,920 --> 00:34:41,359 Speaker 1: time job, I didn't know what if it was going 598 00:34:41,400 --> 00:34:44,400 Speaker 1: to succeed or not. I got offered this pilot. I 599 00:34:44,440 --> 00:34:47,360 Speaker 1: knew Roseanne is a stand up I knew John Goodman 600 00:34:47,400 --> 00:34:49,439 Speaker 1: had done a lot of theater, but we all didn't 601 00:34:49,440 --> 00:34:52,160 Speaker 1: know each other. There's three kids on it, you know, 602 00:34:52,760 --> 00:34:56,600 Speaker 1: and the writers didn't necessarily know how to write for 603 00:34:56,680 --> 00:35:01,520 Speaker 1: each character. And that was the combination of us doing 604 00:35:01,600 --> 00:35:06,440 Speaker 1: some initial shows and the writers watching what our strengths 605 00:35:06,520 --> 00:35:11,320 Speaker 1: were created those characters. They saw the strengths, they started 606 00:35:11,320 --> 00:35:14,759 Speaker 1: writing towards the strengths. Someone pointed that out to me 607 00:35:14,800 --> 00:35:16,959 Speaker 1: about Will and Grace when I went on that show. 608 00:35:17,000 --> 00:35:19,239 Speaker 1: They said, you know, in the first season, if you 609 00:35:19,320 --> 00:35:23,239 Speaker 1: watched uh footage, if you watch old episodes of the 610 00:35:23,239 --> 00:35:25,720 Speaker 1: first season, none of them are really hitting those notes 611 00:35:25,719 --> 00:35:29,320 Speaker 1: that they hit later. They're finding those that first year, 612 00:35:30,000 --> 00:35:31,839 Speaker 1: they're stretching and trying to find out what they want 613 00:35:31,840 --> 00:35:33,879 Speaker 1: to do in terms of the crazy. That's what it took. 614 00:35:34,160 --> 00:35:37,839 Speaker 1: And so going back to it literally thirty years later, 615 00:35:38,200 --> 00:35:40,840 Speaker 1: I mean from the first preview from them, from the 616 00:35:40,880 --> 00:35:44,040 Speaker 1: first pilot, it was thirty years ago. From when it 617 00:35:44,040 --> 00:35:46,879 Speaker 1: went off the air was twenty years ago. So going 618 00:35:46,920 --> 00:35:50,120 Speaker 1: back to it, and we half of the writing crew 619 00:35:50,200 --> 00:35:53,120 Speaker 1: was the same, and with some new people thrown in. 620 00:35:53,200 --> 00:35:56,080 Speaker 1: So great people, but like Norm had been on the 621 00:35:56,120 --> 00:36:00,160 Speaker 1: show and uh, and so they knew those voices. Well, 622 00:36:00,800 --> 00:36:03,359 Speaker 1: everybody knew him. What am I saying? Even the new 623 00:36:03,400 --> 00:36:07,120 Speaker 1: writers knew those voices. And so that was like riding 624 00:36:07,120 --> 00:36:11,200 Speaker 1: a bike again. So everybody came back, Yeah, everybody. Everybody 625 00:36:11,239 --> 00:36:13,040 Speaker 1: was happy to come back. Was a young woman's name 626 00:36:13,040 --> 00:36:14,399 Speaker 1: wol played the daughter who was on the talk show 627 00:36:14,400 --> 00:36:17,000 Speaker 1: when I was forgetting her name, Sarah Gilbert. She came back. Oh, 628 00:36:17,080 --> 00:36:21,160 Speaker 1: she initiated the whole thing. She she had John on 629 00:36:21,400 --> 00:36:24,920 Speaker 1: her show at the talk and they did a little sketch, 630 00:36:25,200 --> 00:36:28,480 Speaker 1: like a twenty second sketch of them. They recreated the 631 00:36:28,520 --> 00:36:31,680 Speaker 1: couch with the afghan and it was Darlene and John, 632 00:36:31,719 --> 00:36:33,920 Speaker 1: and Darlene was trying to come out to him and 633 00:36:33,960 --> 00:36:36,080 Speaker 1: he just wanted to watch baseball on TV or something 634 00:36:36,120 --> 00:36:39,360 Speaker 1: like that, and the and the audiences thought it was funny. 635 00:36:39,560 --> 00:36:42,959 Speaker 1: And then they asked John on the show afterwards, would 636 00:36:42,960 --> 00:36:44,759 Speaker 1: you ever do a reunion show? And he said, of 637 00:36:44,800 --> 00:36:48,040 Speaker 1: course I would. And then Sarah took the ball and 638 00:36:48,160 --> 00:36:51,040 Speaker 1: ran with it, called Everybody, and it turned in from 639 00:36:51,120 --> 00:36:56,080 Speaker 1: a reunion show into a little nine episode arc. Obviously 640 00:36:56,640 --> 00:36:59,319 Speaker 1: people who have made a big deal, which to me, 641 00:36:59,600 --> 00:37:04,200 Speaker 1: it's kind mystifying to me about Rosanne Bars politics and 642 00:37:04,239 --> 00:37:07,560 Speaker 1: that she's a big Trumpian and that her characters a 643 00:37:07,640 --> 00:37:10,960 Speaker 1: Trumpian on the show. When you're doing the show, I 644 00:37:10,960 --> 00:37:13,439 Speaker 1: would imagine I get the impression none of that comes 645 00:37:13,520 --> 00:37:15,560 Speaker 1: up on the set of the show. Everybody just having 646 00:37:15,600 --> 00:37:17,279 Speaker 1: a good time. Yeah, let's just get the work done, 647 00:37:17,320 --> 00:37:20,600 Speaker 1: let's keep the funny going. Exactly doesn't bring it up, 648 00:37:21,040 --> 00:37:23,000 Speaker 1: and they had to address it, you know, how can 649 00:37:23,040 --> 00:37:26,040 Speaker 1: you not in the pilot, this new pilot, and I 650 00:37:26,040 --> 00:37:29,200 Speaker 1: thought they did it really well because, um, I mean, 651 00:37:29,280 --> 00:37:32,000 Speaker 1: we don't talk about names, but we talk about there's 652 00:37:32,000 --> 00:37:34,080 Speaker 1: a rift in the family because of how how we 653 00:37:34,120 --> 00:37:36,400 Speaker 1: all voted. The sisters haven't talked to each other for 654 00:37:36,440 --> 00:37:39,799 Speaker 1: a year, which is something that's really going on, you know, 655 00:37:39,840 --> 00:37:44,560 Speaker 1: across the country. That's that's uh, totally legit and honest, 656 00:37:45,040 --> 00:37:49,719 Speaker 1: I think to explore and and then and then what 657 00:37:49,760 --> 00:37:51,879 Speaker 1: they it was the same as what they all used 658 00:37:51,920 --> 00:37:54,359 Speaker 1: to do with all of the stories. They would take 659 00:37:54,400 --> 00:37:57,480 Speaker 1: a big issue and then shrink it down to the family. 660 00:37:58,160 --> 00:38:01,120 Speaker 1: So the rift becomes what is it between these two 661 00:38:01,320 --> 00:38:05,480 Speaker 1: sisters set aside from the election that causes them to, 662 00:38:05,520 --> 00:38:09,160 Speaker 1: you know, to dysfunction like that. So when you come 663 00:38:09,160 --> 00:38:11,440 Speaker 1: back and you have the same group of people, and 664 00:38:11,520 --> 00:38:14,440 Speaker 1: everybody's older, and I mean significantly older. It was many 665 00:38:14,520 --> 00:38:17,120 Speaker 1: years ago you did the show. You mentioned the writers. 666 00:38:17,400 --> 00:38:19,279 Speaker 1: What about the directors? I mean, did you get some 667 00:38:19,320 --> 00:38:21,239 Speaker 1: of the directors you had? We have some of the 668 00:38:21,280 --> 00:38:25,359 Speaker 1: same directors. Yeah. And the coolest thing is that I 669 00:38:25,400 --> 00:38:27,880 Speaker 1: thought I would sit on the side watching a scene 670 00:38:28,320 --> 00:38:33,320 Speaker 1: like between Sarah Gilbert and her kid now who's on 671 00:38:33,360 --> 00:38:38,360 Speaker 1: the show, do a scene in the on the kitchen set, 672 00:38:39,120 --> 00:38:42,560 Speaker 1: which is a set that Sarah really did grow up 673 00:38:42,600 --> 00:38:46,600 Speaker 1: on and now she's parenting her kids on that same set, 674 00:38:47,000 --> 00:38:50,400 Speaker 1: and Rosanne is in the scene watching her parents, you know, 675 00:38:50,480 --> 00:38:52,960 Speaker 1: and being very judgmental about it. It's the kind of 676 00:38:53,640 --> 00:38:57,520 Speaker 1: history between characters that you can't buy. You can cast 677 00:38:57,600 --> 00:39:00,520 Speaker 1: people together as a family, and they did thirty years ago, 678 00:39:00,840 --> 00:39:03,520 Speaker 1: but because we spent that decade together, we really did 679 00:39:03,560 --> 00:39:07,080 Speaker 1: become one. And now as we revisit it, there's these 680 00:39:07,080 --> 00:39:10,560 Speaker 1: built in layers because we're back in the same house 681 00:39:10,880 --> 00:39:15,480 Speaker 1: and we've had all that time together. So it's I 682 00:39:15,520 --> 00:39:19,880 Speaker 1: think it's weirdly deeper the second time around. And the 683 00:39:19,880 --> 00:39:22,919 Speaker 1: way that Roseanne had always set up that show is that, 684 00:39:23,239 --> 00:39:27,200 Speaker 1: um it was the writing she wanted, a kind of 685 00:39:27,200 --> 00:39:33,120 Speaker 1: writing that was able to support heavy issues for a sitcom, 686 00:39:33,239 --> 00:39:35,480 Speaker 1: for a multi cam sitcom, I don't think of I 687 00:39:35,480 --> 00:39:37,480 Speaker 1: don't know of any other one that could go to 688 00:39:37,560 --> 00:39:40,960 Speaker 1: the places that she did, you know, and bring in 689 00:39:41,000 --> 00:39:44,600 Speaker 1: a darkness sometimes and really address things and not have 690 00:39:44,719 --> 00:39:48,160 Speaker 1: it be really jarring for the audience. You know. She 691 00:39:48,320 --> 00:39:51,759 Speaker 1: just that that was set up perfectly, I think, so 692 00:39:51,840 --> 00:39:54,480 Speaker 1: that she could address issues that she wanted to as 693 00:39:54,600 --> 00:39:59,960 Speaker 1: as seasons went by, until, of course, Rosanne was can 694 00:40:00,600 --> 00:40:06,080 Speaker 1: at the end of May. In an interview, Lori said 695 00:40:06,160 --> 00:40:09,320 Speaker 1: Roseanne should do a play quote. I'd like to watch 696 00:40:09,320 --> 00:40:12,680 Speaker 1: her do something dramatic like Tennessee Williams or Edward Alby. 697 00:40:13,080 --> 00:40:18,680 Speaker 1: She'd be brilliant unquote, while we stay tuned for that. 698 00:40:18,800 --> 00:40:22,279 Speaker 1: Lorie Metcalf herself can be seen in Albi's Three Tall 699 00:40:22,320 --> 00:40:29,160 Speaker 1: Women on Broadway until June. This is Alec Baldwin, and 700 00:40:29,200 --> 00:40:30,799 Speaker 1: you were listening to Here's the Thing.