For Liev Schreiber, Naturalism is Tough
Coming off tremendous personal reviews for his role as Eddie Carbone in the newly-opened, lavishly-praised revival of Arthur Miller’s “A View From The Bridge,” Liev Schreiber tells Theater Talk hosts Michael Riedel and Susan Haskins that it “never occurred” to him to play Eddie – that, in fact, he is “not drawn to naturalism in general.” Before the taping, he admitted that for him it’s easier to play Iago (in “Macbeth”) than Eddie Carbone.
Schreiber has words of praise for his co-star, new-to-the-stage Scarlett Johansson. “She has tremendous composure… tremendous emotional facility,” and is “more interested in the goal of getting better than being appreciated” – “the sign of a great actor.”
Reprising his famous observation that actors can be compared to breeds of dogs, Schreiber says he’s “like the Jack Russell that won’t stop ripping the felt off of your tennis ball.” Director Gregory Mosher, also interviewed in the half-hour, describes him differently – “like a German Shepard, and the gentle St. Bernard, particularly for his stewardship of this production.”
This interview begins syndication on Feb. 5 -- and is on Thirteen/WNET in New York on Friday, Feb. 5 at 1 AM and streamed on www.cuny.tv by February 15.
Founder of Famed Circle in the Square
With his memoir of the founding of the historic Circle in the Square now out in paperback (“Journeys in the Night – Creating a New American Theatre with Circle in the Square,” Applause Books), Ted Mann paid a visit to Theater Talk.
Describing his frequent attempts in the 1950s to get the rights to the work of Eugene O’Neill – who, says Mann, was “considered forgotten and old-fashioned” – he names the Circle’s May 1956 revival of “The Iceman Cometh,” starring a little-known Jason Robards, as the theatre’s greatest production. With a cast of 25 and running 4-1/2 hours, Mann and director Jose Quintero decided, “If we’re going to go down, let’s go down BIG.” With a budget of $2,500, the show was a smash and revived interest in O’Neill. It led O’Neill’s widow, Carlotta, to give them the manuscript of “Long Day’s Journey Into Night,” and history was made once again.
Airdate TBA
Oscar-Nominated Maury Yeston’s Career
Composer/lyricist Maury Yeston dropped by Theater Talk for a 2-part review of his work, including a stint at the piano. Yeston is a fountain of Broadway lore, collected from his relationships with the late librettists Larry Gelbart and Peter Stone, director Mike Nichols, and many others, and regaled the Green Room with stories of Frank Loesser and “the one show that was perfect out of town and never needed any work – Kiss Me, Kate” (as passed on to him by other Broadway hands, as Yeston was only 3 years old when the show opened in December 1948).
Yeston’s Broadway hit “Nine” is now on movie screens, garnering him an Oscar nomination for a new song written especially for the film, and he is at work on a musical version of “Death Takes A Holiday.” His past triumphs include “Titanic” and “Grand Hotel.” He is a talent with one foot in the Old School, and one in the New – one that, we hope, has the opportunity to keep writing wonderful shows.
This two-parter begins syndication March 4 and will be streamed on www.cuny.tv
