By Michael Buckley
11 Feb 2008

	Laurie Metcalf in November
	photo by Scott Landis

Art imitates life. In November, David Mamet's politically incorrect political comedy, Clarice Bernstein, speechwriter for a U.S. President (played by Nathan Lane), is ordered to the Oval Office by means of a telephone call. In real life, the speechwriter role was offered to Laurie Metcalf via a telephone call. "A David Mamet play, on Broadway, with Nathan Lane, and Joe Mantello [directing]? I immediately said yes. [Laughs]"

Mamet, she tells me, "made small changes, sometimes things as tiny as a cut within a sentence, because he would hear it scan. I like that the play gets as crazy as it does, and spirals into out-and-out farce, but has serious moments."

John Simon's rave review noted, "Nathan Lane, a great comic actor, gets the part he needed to prove himself the greatest," and enthused that "the perennially amazing Laurie Metcalf...too long absent from our stages, returns."

Clarice is introduced as she returns from a trip to China, where she adopted a baby, caught the flu, purchased an amulet (which later proves helpful), and decided that she wants to marry her lesbian partner — on a nationally televised ceremony, performed by the Chief Exec.

First, however, she must deal with the panicky President. (Lane's eyebrows threaten to form an isosceles triangle with the base of his forehead.) Facing eviction from 1600 Pennsylvania Avenue, incumbent Charles Smith's bank balance is as low as his ratings. Desperate to raise funds for a presidential library, Smith also wants to win back his popularity. For that, he needs Clarice's help. A Bernstein speech, Smith tells her, "makes me sound smart." However, she's busy working on Smith's concession speech.

Her Act Two entrance is priceless. Decked out in wedding dress, veil, and jacket, she's a loopy-looking bride-to-be. Blocking her bridal path, however, are Smith's duplicitous lawyer (Dylan Baker), two (unseen) turkeys, and a pair of very funny Oval Office visitors. One is a representative (Ethan Phillips) of fowl by-products manufacturers; the other, Dwight Grackle (Michael Nichols), a Native American Micmac tribe chief on the war path.

"It's a tight show. The rhythm of it has to be a certain way. It goes a mile a minute. Everybody's interdependent on hitting that stride. In that way, it's a great ensemble show." Exclaims Metcalf, "I love it!"

She disdains a few critics' opinions that Mamet resorts to sitcom humor. "That's easy, and kind of cheap. Granted, Nathan makes it look easy, but it's not. Comedy's much harder than drama." I quote the line supposedly said by an expiring actor: "Dying is easy, comedy is hard." She laughs. "Exactly!" Adds Metcalf, "To wring that many laughs out of a 90-minute show is very hard."

Metcalf and Lane previously acted together "at Williamstown, in She Stoops to Conquer, ages ago, and in [the short-lived 2003 sitcom] 'Charlie Lawrence.' I knew I really wanted to do [another] play with him. This type of show requires a lot of technique. Nathan's a master at that. It's great to watch him work — from a ringside seat."

Born in Carbondale, IL, Metcalf earned a BA in theatre at Illinois State University. During nine seasons (1988-97) as Jackie Harris, the star's sister on "Roseanne," Metcalf won three consecutive Emmys (1992-94), and was nominated four other times — once more for the sitcom, three for guest appearances. She's amused when I repeat a comment overheard at a November performance. One lady told another that Metcalf "played the sister on 'Roxanne'."

One of my friends is a big "Roseanne" fan. A rerun episode he likes best has Metcalf on the telephone trying to tell a hearing-impaired aunt that Jackie's father has died. But the woman can't hear her. Exasperated, Jackie finally screams, "He's dead!" After a pause, she sighs. "He's fine. He sends his love." Metcalf remembers the episode, "written by Norm MacDonald," her co-star (1999-2001), on "The Norm Show."

Roseanne Barr, insists Metcalf, "was never given enough credit for her acting. I loved watching her act. She also made it look easy [like Nathan Lane]. People could identify with things from Roseanne's personal life. She had a way of cutting to what was meaningful, and was willing to sacrifice laughs to get there. I was so lucky to have been a part of a show that I feel really proud of. It was the best experience ever!"

Appearing on several "Roseanne" episodes as Jackie's abusive boyfriend Fisher, is Matt Roth, Metcalf's (second) husband, who recently played Art Shepherd on several episodes of "Desperate Housewives." Metcalf and Roth are parents of three: Will (14), Donovan (7), and Mae (2). Older daughter Zoe Perry (born 1984) played Jackie as a child on two "Roseanne" flashback episodes. Her father, actor Jeff Perry is currently on Broadway (as Bill Fordham) in Tracy Letts' August: Osage County, a Steppenwolf production.

Perry, Gary Sinise, and Terry Kinney founded Steppenwolf, and "a very shy" Metcalf was "one of nine in the original company" of Chicago's famed theatre group. She sees her Steppenwolf colleagues "in New York, more than I do in Chicago, or L.A. Funny how that works out."

In 1984, Metcalf debuted Off-Broadway in the Steppenwolf-Circle Rep production of Lanford Wilson's Balm in Gilead, directed by John Malkovich. It won a Theatre World Award (for Metcalf), two Obies (Metcalf and Malkovich), two Drama Desk Awards (ensemble acting and director), and an Outer Circle Critics nod for Malkovich.

A Broadway debut occurred in 1995's short-lived My Thing of Love. Of her many stage appearances (Off-Broadway, in Chicago, and L.A.), the actress doesn't have a favorite. "I liked them all, for different reasons." Her grand-aunt, Zoe Akins (1886-1958), wrote several plays, one of which, The Old Maid, won a 1935 Pulitzer Prize. Akins' first Broadway success was 1919's Declasse, starring Ethel Barrymore. Almost 90 years later, the theatre named for that star houses November.

"For some reason," Metcalf points out, "matinee audiences have been wonderful. On two-show days, the first show's been so exhilarating, you can't wait to go back for the second." I couldn't wait to go back for the second time to see the comedy. Almost constant laughter fills the Ethel Barrymore Theatre. Even the lobby portrait of the eponymous star wears a brighter smile.

*

	George Wendt in Hairspray
	photo by Paul Kolnik

Would the benign barfly played by George Wendt on "Cheers" (1982-93) consider the actor's latest gig, as Edna Turnblad in Broadway's Hairspray, something out of the norm? The question makes Wendt laugh. "Norm served in the Coast Guard, so an encounter with a large woman from Baltimore [the musical's setting] could have happened."

Norm Peterson (the character for which he earned six consecutive Emmy nominations, 1984-89) might well be disconcerted by Wendt's appearance as we chat in his Neil Simon Theatre dressing room, 20 minutes before curtain. If Norm saw George in Edna's wig, false eyelashes, and painted brows, he'd cry, "Mama, [He's] a Big Girl Now."

Admits Wendt, "The genesis of [playing Edna] started with the first national tour. There was some interest in me. I met with the creative team, but they gave the role to Bruce Vilanch. I figured that ship had sailed. Last summer, they asked if I was still interested — and here I am."

Following three weeks of rehearsals ("just about right"), Wendt took over the gender-bending role last October. He'd signed until late January, but has extended his contract "until the 20th of July — and there's no guarantee I'll leave then. [Laughs] It's great fun!"

Hairspray is not Wendt's first musical. He played Pseudolus in A Funny Thing Happened on the Way to the Forum (at Williamstown), and has appeared in Wild Men! (first in Chicago, then Off-Broadway) and Babes in Arms (at Chicago's Ovations).

On TV, as Harry McAfee, he sang "Kids" in "Bye Birdie" (a 1995 Zadan-Meron Storyline production). "I was received by the critics," recalls Wendt, "the same way that Paul Lynde [McAfee on Broadway, and in the movie] might have been, if he had played Norm in a remake of 'Cheers.'"

However, this is Wendt's first step into Fred Astaire territory. "After all, dancing has not been my life. [Laughs] That was the most daunting part of this, but we have a terrific dance captain who taught me everything."

Some people, relates Wendt, associate him with "Black or White," the 1991 Michael Jackson video, in which he played Macaulay Culkin's loudmouthed dad. Others know him from "Saturday Night Live" appearances as Bob Swerski, avid football fan of "Da Bears!" But most think of him as Norm: "The upside is I get a lot of free beers."

Along with Ted Danson and Rhea Perlman, Wendt appeared in every episode of "Cheers." The voice of Vera, Norm's never-seen wife, belongs to actress Bernadette Birkett, the real-life Mrs. Wendt. Parents of four sons and a daughter, they celebrate their 30th anniversary this year. Both Chicago-born, the Wendts met as members of Second City during his years (1974-80) with the improv group.

"I'd been there two or three years when I decided to be an actor. I was clueless as a young man; I only wanted to be in Second City. I'm glad it happened that way. If I thought: I'll be on a fabulous, hit sitcom, and have a 35-year career [to date], that would have been far too daunting."

Yasmina Reza's Art marked Wendt's 1998 London and Broadway debuts. He played Yvan in the three-character comedy. "I loved Art. I've seen five or six casts do it in different styles. It always works like a fugue."

Most recently, Wendt toured in Twelve Angry Men. "It was a total blast, a great group of guys. I played Juror Number One, the Foreman. I'd tell people that, and they'd give me a blank stare. I'd say, 'the Martin Balsam role [from the 1957 movie].' They'd go, 'Oh, yeah.' Richard Thomas was Henry Fonda. It's in Toronto, as we speak."

I very much enjoy Wendt as Edna, especially in the "Timeless to Me" duet with Tom Rooney, a top-notch Wilbur, Edna's husband. (Looks like Rooney's having a fun day on a lark with George). Wendt gets entrance applause, and an ovation at the curtain call.

It brings to mind his immediate response when I ask, as the interview ends, "Which stage role has given you the most satisfaction?" Claims Wendt, "This one — Edna. For somebody who hasn't done much singing and dancing, it's so rewarding. At my age, you couldn't ask for a better role."

Cheers!

*

VARIOUS AND SUNDRY

Should Julie Christie (deservedly) win the Academy Award as Best Actress for "Away from Her", she'll set a record for the longest time between Oscars, surpassing Helen Hayes, whose wins were 38 years apart. Christie, whose sole Broadway appearance was in a 1973 production of Uncle Vanya, first won as Best Actress of 1965 for "Darling" — 42 years ago.

My January column acknowledged the superb performance of gifted stage vet Ruby Dee, as the mother of Denzel Washington in "American Gangster". She's since won a SAG Award and, at 83 (almost seven decades since her film debut), is a first-time Oscar nominee. Isn't that Dee-lovely?

Recognize the actor playing Miles, the "ghostbuster" who just landed (Feb. 7) on the island in TV's "Lost"? That's Ken Leung, who was Ching Ho in Broadway's Thoroughly Modern Millie, his sole Broadway credit.

Stage to Screens is Playbill.com's monthly column that connects the dots between artists who cross freely between theatre, film and television. Michael Buckley has written this column since 2002. Contact him at stagetoscreens@aol.com.