{"id":1227,"date":"2026-06-04T23:39:16","date_gmt":"2026-06-04T23:39:16","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=1227"},"modified":"2026-06-04T23:39:16","modified_gmt":"2026-06-04T23:39:16","slug":"tonys-roundtable-six-broadway-standouts-on-overcoming-their-fears-provoking-difficult-conversations-and-making-magic-eight-times-a-week","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=1227","title":{"rendered":"Tonys Roundtable: Six Broadway Standouts on Overcoming Their Fears, Provoking Difficult Conversations and Making Magic Eight Times a Week"},"content":{"rendered":"<div>\n<!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tSix of the 2025-26 Broadway season\u2019s standout performers \u2014 three men and three women, each of whom is headed to the 79th Tony Awards on Sunday, June 7, as a nominee \u2014 convened at PMC\u2019s New York headquarters in late May for this year\u2019s edition of <em>The Hollywood Reporter<\/em>\u2019s Tonys Roundtable.<\/p>\n<p>Read more <a href=\"https:\/\/uspropertymoves.com\/?p=1225\">Seth Rogen to Reboot \u2018Littlest Hobo\u2019 Dog Drama in Canada<\/a><\/p>\n<p>\n\tThe group included two veterans of the stage and screen who are the frontrunners for best actor in a play: <strong>John Lithgow<\/strong>, who portrays Roald Dahl, the author of beloved children\u2019s books who also had a darker side, in <em>Giant<\/em>, his 25th Broadway show, which could bring him his third Tony; and <strong>Nathan Lane<\/strong>, who is receiving career-best notices for his interpretation of Willy Loman in the latest revival of the great American play <em>Death of a Salesman<\/em>, his 24th show on the Great White Way, which could bring him his fourth Tony.<\/p>\n<p>\n\tJoining them were two troupers who are known for their booming voices and are widely expected to win for the first time this cycle on their fourth and third nominations, respectively: <strong>Joshua Henry<\/strong>, a best actor in a musical nominee for Lincoln Center\u2019s revival of <em>Ragtime<\/em>, and <strong>Shoshana Bean<\/strong>, a best featured actress in a musical nominee for <em>The Lost Boys<\/em>, an adaptation of the 1987 film of the same name, which is tied with <em>Schmigadoon!<\/em> for the most nominations of any show this season.<\/p>\n<p>\n\tAnd rounding out the group were two first-time nominees. Mere months after being nominated for her first Oscar, for <em>If I Had Legs I\u2019d Kick You<\/em>, <strong>Rose Byrne<\/strong> is up for best actress in a play for <em>Fallen Angels<\/em>, a revival of a No\u00ebl Coward comedy about two sexually frustrated women in 1920s London. And <strong>Marla Mindelle<\/strong> is nominated for best actress in a musical \u2014\u00a0and best musical and book of a musical \u2014\u00a0for <em>Titan\u00edque<\/em>, a wacky comedy in which she plays a version of Celine Dion who believes she was actually aboard the <em>Titanic<\/em>. (Mindelle is the first woman ever to be Tony-nominated for a leading performance in a show that she also wrote.)<\/p>\n<p>\n\tAs you can listen or read below (the transcript has been lightly edited for clarity and brevity), the sextet discussed their paths to these shows and the conversations that they are provoking, the behavior of audience members that they find most annoying, the performance schedule they wish they had, how they would feel about being part of a screen adaptation of their current production, plus more.<\/p>\n<p><iframe allowfullscreen=\"true\" class=\"pmc-protected-embed\" frameborder=\"0\" height=\"200\" id=\"pmc-protected-embed-2\" loading=\"lazy\" scrolling=\"no\" src=\"https:\/\/playlist.megaphone.fm?e=PMC7653939454\" width=\"100%\"><\/iframe><\/p>\n<p>\n<strong>Marla, you graduated from college and pretty quickly began working on Broadway \u2014 you were in <em>South Pacific<\/em>, <em>Sister Act<\/em> and <em>Cinderella<\/em> \u2014\u00a0and then you elected to walk away. It was 10 years before you were back with <em>Titan\u00edque<\/em>. Why was that?<\/strong><\/p>\n<p>\n<strong>MARLA MINDELLE<\/strong> I did Broadway show after Broadway show, and then, when I hit 30, I was like, \u201cGod, I really have aspirations outside of this.\u201d I had realized in college that I love writing and I love musical theater. I love it so much. I love it too much. It\u2019s probably why I felt a desire to have authority over my own career. I thought it would be easy for me to do that through moving to Hollywood and trying to become a writer \u2014 I was like, \u201cHow hard can that be?\u201d And I lost everything \u2014\u00a0my money, my mind, my sense of self. I wound up doing crappy dinner theater in L.A. for $75 a show.<\/p>\n<p>\n\tIt was at my rock bottom, trying to pursue a new career, that this whole idea for <em>Titan\u00edque<\/em> started. I was drunk in a bar and the co-author of the show, Constantine Rousouli, suggested the concept. I was like, \u201cThat\u2019ll never friggin\u2019 happen,\u201d and sat on the idea for two years. But Connie and Tye Blue, the director, forced me to do it. With that tiny little dinner theater money and a glass of sauvignon blanc, we just started writing it for fun.<\/p>\n<p>\n<strong>When it was first mounted in New York, what was its venue like?<\/strong><\/p>\n<p>\n<strong>MINDELLE<\/strong> <em>Titan\u00edque<\/em>, after the pandemic, started in the basement of a Gristedes [supermarket]. It was supposed to be a three-month run. We were getting paid very little. It smelled like beer and urine, and there were rats crawling around, because the Gristedes was about to be condemned. I\u2019m singing \u201cMy Heart Will Go On,\u201d and there\u2019s trash juice leaking from the ceiling. But something switched, and people started coming, and it just blew up. And so from that basement, it went off-Broadway to the Daryl Roth [Theatre] and now to Broadway and all over the world. It\u2019s been a 10-year process. And now I get to sit with the likes of you all. It\u2019s a rags to \u201criches\u201d story. Not to be emotional, but this is just a dream come true.<\/p>\n<p>\n<strong>NATHAN LANE<\/strong> I love that story. Congratulations.<\/p>\n<p>\n<strong>JOHN LITHGOW<\/strong> It\u2019s wonderful to hear.<\/p>\n<p>\n<strong>Nathan, in 2010, Charles Isherwood in <em>The<\/em> <em>New York Times<\/em> opened a profile of you by declaring, \u201cI wouldn\u2019t dare to venture an opinion as to who is the greatest actor to appear on Broadway in the past decade or so. Most accomplished diva? Definitely won\u2019t touch that. But the greatest entertainer? That one is easy: Nathan Lane.\u201d How did that go over with you?<\/strong><\/p>\n<p>\n<strong>LANE<\/strong> Well, I can find the dark cloud in any silver lining. I was doing a musical at the time called <em>The Addams Family<\/em>, which had been reviled by the critics, and yet the public wanted to see it. So I was in the middle of that, and I guess he felt sorry for me and wrote this very complimentary career-assessment piece. But there was something about the fact that he referred to me as an \u201centertainer\u201d and not an \u201cactor\u201d that stuck in my head. I thought to myself, \u201cIs that how I\u2019m seen? I wonder if I could shift people\u2019s perception?\u201d I have no power in film and television, but in the theater I have a little bit. So it prompted me to do something.<\/p>\n<p>\n\tI read an interview with Brian Dennehy, who was a very old friend of mine, and Robert Falls, who ran the Goodman Theatre in Chicago, and they were discussing what they might do next. They mentioned that they were considering doing another production of <em>The Iceman Cometh<\/em>. Brian had very successfully played it there in 1990, and now he was going to play Larry Slade, and they were thinking about who would play Hickey, famously played by Jason Robards in the first revival of it. And I thought, \u201cGee, that would shake things up, that would be a big challenge.\u201d So I wrote Bob an email and suggested myself. Eventually it led to me doing it in Chicago, which was a life-changing experience because it\u2019s such a monumental play and near-impossible part. And it was what I was looking for.<\/p>\n<p>\n<strong>That was the beginning of an of amazing run of dramatic parts for you. You soon returned to Broadway as Roy Cohn in a seven-hour production of <em>Angels in America<\/em>, and now you\u2019re back as Willy Loman.<\/strong><\/p>\n<p>\n<strong>LANE<\/strong> When I was 10, I saw <em>Death of a Salesman<\/em> on television \u2014\u00a0it was a 1966 CBS special presentation with the original stars of the play, Lee J. Cobb and Mildred Dunnock. A year later, my father essentially committed suicide by drinking himself to death \u2014\u00a0in fact, he sort of announced it to my brother, who was trying to get him to stop drinking, when he just said, \u201cI\u2019m no good to anyone. I\u2019m just going to drink myself to death.\u201d Then I read the play in high school. And then in 1995, the first time I worked with Joe Mantello [who is directing the current production of <em>Death of a Salesman<\/em>], we were doing a Terrence McNally play, <em>Love! Valour! Compassion!<\/em>, and, for some reason, he turned to me one day in rehearsal and said quietly, \u201cSomeday I\u2019m going to direct you in <em>Death of a Salesman<\/em>.\u201d<\/p>\n<p>\n<strong>JOSHUA HENRY<\/strong> Wow.<\/p>\n<p>\n<strong>LANE<\/strong> I was like, \u201cOh, OK.\u201d It took me by surprise. Now he says, \u201cI don\u2019t know why I said that. It was a premonition, maybe.\u201d<\/p>\n<p>\n<strong>Rose, you made your Broadway debut in 2014 opposite James Earl Jones in a revival of <em>You Can\u2019t Take It With You<\/em>. There is actually a direct link between that and your return to Broadway this year opposite Kelli O\u2019Hara in <em>Fallen Angels<\/em>, right?<\/strong><\/p>\n<p>\n<strong>ROSE BYRNE<\/strong> Well, Scott Ellis directed <em>You Can\u2019t Take It With You<\/em>. Cut to years later, he was doing a benefit reading for the Roundabout [Theatre Company] and Todd Haimes. The late, wonderful Todd Haimes had brought the play to Scott, having an idea for it, and then Scott stepped in when Todd passed, and we did this reading, and we were like, \u201cOh, this is special.\u201d From there it took a couple of years, but we found a time when we could all do it. It\u2019s been been a dream of mine to do a true comedy. In <em>You Can\u2019t Take It With You<\/em>, I was really the straight man. But in this one, the women are transgressive and lustful and violent and ridiculous and funny. So it\u2019s been a real gift and dream to do a true comedic piece onstage.<\/p>\n<p>\n<strong>Joshua, you\u2019ve been so great in a lot of Broadway shows, many of which have been revivals, including <em>Violet<\/em>, <strong><em>Into the Woods<\/em><\/strong> and <em>Carousel<\/em>. I understand that you were pretty set on <em>not<\/em> doing another revival. So how did you end up stepping into the large shoes of Brian Stokes Mitchell in the first Broadway revival of <em>Ragtime<\/em>?<\/strong><\/p>\n<p>\n<strong>HENRY<\/strong> At the University of Miami, I listened to the <em>Ragtime<\/em> soundtrack and thought, \u201cThis is the kind of work that I want to do.\u201d But more recently, it certainly wasn\u2019t in the plans. After <em>Carousel<\/em> in 2018, I was like, \u201cI\u2019m done with revivals for a little while.\u201d Lear deBessonet, who directed <em>Ragtime<\/em>, was directing a new piece of mine called <em>The Conversation<\/em>, and we were in a reading in 2023, and on a 10-minute break she took me to the side and was like, \u201cI have this idea. Have you ever thought about playing Coalhouse Walker Jr. in <em>Ragtime<\/em>?\u201d I just started laughing. She was like, \u201cI think this could be really special.\u201d And I was like, \u201cAbsolutely!\u201d That role, where it can take you, I just connect with so much as an artist, as a ferocious dreamer, as a musician and as a family man. So I had to jump back onto the revival train.<\/p>\n<p>\n<strong>You connect with it on another level, too, I believe \u2014\u00a0you\u2019re a first-generation American?<\/strong><\/p>\n<p>\n<strong>HENRY<\/strong> Yeah. My parents are from Jamaica. They came from Jamaica and went to Canada, which is actually where my siblings and I were born, and then we were raised in America, in Florida. And the idea of them having a dream for us? I am now 20 years into my career, but when I was going to be a musical theater major they were like, [<em>in a heavy Jamaican accent<\/em>] \u201c<em>What<\/em> are you going to do now?!\u201d My dad is an engineer and my mom worked at an accounting firm, and that was just <em>not<\/em> in the cards. But now they get to see it. My mom\u2019s actually going to be there [at the Tonys] on June 7th. To have her there is going to be really special.<\/p>\n<p>\n<strong>Shoshana, your two most recent shows on Broadway were the Alicia Keys musical <em>Hell\u2019s Kitchen<\/em>, which wound up tied for the most Tony nominations of any show that year, and now <em>The Lost Boys<\/em>, which is tied for the most Tony nominations of any show this year \u2014<\/strong><\/p>\n<p>\n<strong>HENRY<\/strong> The Shoshana Factor!<\/p>\n<p>\n<strong>And you personally received Tony nominations for both of them. But I understand you had some reservations about doing them, for reasons that are sort of articulated in your big showstopper in <em>The Lost Boys<\/em>, \u201cWild.\u201d<\/strong><\/p>\n<p>\n<strong>SHOSHANA BEAN<\/strong> I really did not want to be playing another mom. It\u2019s interesting to age and navigate aging inside of this business, and being pigeonholed or seen in a certain way, and feeling like you have more to offer and to prove, feeling like an underdog and unseen in ways, when you know you have things to offer. And so a lot of that I navigated through saying yes to <em>The Lost Boys<\/em>. I replaced Caissie Levy when she decided to stay in <em>Ragtime<\/em>. It was a last-minute thing. We were going to start rehearsals in a month, and it just, on paper, did not feel like the next thing I wanted to do. But through that song \u201cWild,\u201d I feel like I\u2019ve been able to reclaim being empowered at this age [48] \u2014 for her as a mom and for me as a woman aging and evolving in this business, and wanting to be seen for all of who we are. And at this point, I cannot imagine not having done this show. A lot of the roles I\u2019ve played have sort of pushed me to one end of the spectrum or another, but this one allows me to use a lot more of my colors and paint. It\u2019s been a gift. And to watch Caissie have a massive gift in <em>Ragtime<\/em>? [Levy is nominated for the best actress in a musical Tony.] It\u2019s been so cool to literally hold her hand and walk through this season together.<\/p>\n<p>\n<strong>John, you and Nicholas Hytner, who is directing <em>Giant<\/em>, go back to 2002\u2019s <em>Sweet Smell of Success<\/em>, for which you won one of your Tonys. I believe it was through him that you first heard about <em>Giant<\/em>, Mark Rosenblatt\u2019s first play, which is about the darker side of the beloved children\u2019s author Roald Dahl, and is set in the aftermath of a 1982 book review that he wrote that many found to be antisemitic.<\/strong><\/p>\n<p>\n<strong>LITHGOW<\/strong> Yes, Nick is an old friend, starting with <em>Sweet Smell of Success<\/em> \u2014\u00a0we even knew each other before then a little bit. By any conventional definition, that show was not a success, but it was a fantastic experience for me \u2014 my first time in a musical on Broadway, working with an extraordinary team of people \u2014 and my friendship with Nick was the best thing to come out of it. Then along came 2023. I was actually negotiating with another director to do a new play on the West End, which was a very interesting prospect, and because Nick and I were often just in touch as friends, I mentioned, \u201cOh, I may be in London working in the West End in the fall.\u201d And he just tapped back an email with trembling fingers, \u201cWhat\u2019s that play? Because I have something that I was about to send you!\u201d<\/p>\n<p>\n\tHe had not wanted to send me <em>Giant<\/em> yet \u2014\u00a0it actually didn\u2019t have a name yet, because he and Mark were still working it. They planned to send it to me \u2014 I was the only person they could imagine playing the part, because Dahl was 2 inches taller than me [Lithgow is 6-foot-4] and an old bald man, so there\u2019s simply nobody like him and me, and I was doomed to play this role! [<em>Laughs.<\/em>] He said, \u201cLet me just send you this,\u201d and he sent it precipitously, before they really wanted an actor to read it. It was over-long, for sure, and it was full of a first-time playwright\u2019s overwrought exposition, but it was unmistakable that this was going to be something extraordinary. I just said, \u201cOK, I\u2019ll get out of the other one, even though we are halfway through negotiations. But a workshop is the first thing we should do.\u201d That was in the month of April, and in the month of September, Nick gathered together five other terrific actors. [They formally agreed to perform the play at the Royal Court on Oct. 5, 2023, two days before the events of Oct. 7.]<\/p>\n<p>\n<strong>What, for each of you, is the moment in or aspect of your show that challenges you the most?<\/strong><\/p>\n<p>\n<strong>HENRY<\/strong> There\u2019s one moment in a beautiful song called \u201cNew Music\u201d that [Lynn] Ahrens and [Stephen] Flaherty, the composer and lyricist, and the late Terrence McNally, crafted so perfectly. I think it\u2019s one of the top three best numbers in musical theater. The music, in a very ragtimey way, is just going up to a certain note, and then coming back down, and going up a little bit higher, and then going back down, and then eventually Coalhouse, after months of searching, just yells, \u201cSarah, come down to me!\u201d Musically, it\u2019s at a very high point in my register. That moment was one of my favorite moments in all musical theater, listening to it before I got this role. But doing it every night? We all have these moments in the show where it\u2019s just like, \u201cAll right, here we go, here we go \u2026\u201d<\/p>\n<p>\n<strong>MINDELLE<\/strong> Like you\u2019re dreading it, almost.<\/p>\n<p>\n<strong>BEAN<\/strong> It\u2019s an iconic moment everyone expects. They\u2019re waiting for it.<\/p>\n<p>\n<strong>MINDELLE<\/strong> I was waiting for it.<\/p>\n<p>\n<strong>HENRY<\/strong> I did a breakdown on Instagram of training for it back in 2024, before I even knew I was going to do it on Broadway. That moment is the moment that challenges me the most, but it\u2019s so exciting.<\/p>\n<p>\n<strong>Rose, I have heard that playing drunk is about as hard a thing as there is to do for an actor, and your character becomes increasingly drunk throughout your show.<\/strong><\/p>\n<p>\n<strong>BYRNE<\/strong> Do you guys think it\u2019s hard to play drunk?<\/p>\n<p>\n<strong>MINDELLE<\/strong> Oh, yes.<\/p>\n<p>\n<strong>BYRNE<\/strong> Why is it? It\u2019s a hard thing to capture.<\/p>\n<p>\n<strong>LANE<\/strong> So it doesn\u2019t become, I guess, a caricature of it. Usually when you\u2019re drunk, you\u2019re trying <em>not<\/em> to seem drunk. You\u2019re trying to keep it together.<\/p>\n<p>\n<strong>BYRNE<\/strong> Totally. But Coward structures it well through the play, because it sort of starts out like excited-drunk; then confessional, \u201cI love you\u201d; then falling apart; and then violent. It\u2019s done very well, but it is challenging. You\u2019ve just got to track it, right? And then all the drinking and eating and that stuff, which is just technical, it\u2019s like a dance a little bit. But I don\u2019t know how you guys [Bean, Henry and Mindelle] sing and stuff, that\u2019s crazy!<\/p>\n<p>\n<strong>Well, let\u2019s talk about that. Doing anything eight times a week must be physically draining, but vocally, how <em>do<\/em> you do it? Does it get easier with time?<\/strong><\/p>\n<p>\n<strong>MINDELLE<\/strong> No. Not for me anyway, not for me. Well, Celine Dion songs? I mean, she\u2019s the greatest singer in the world.<\/p>\n<p>\n<strong>BEAN<\/strong> They\u2019re the hardest songs.<\/p>\n<p>\n<strong>MINDELLE<\/strong> It\u2019s the hardest singing of my life. But for me, the hardest moment of the show is the whole section that\u2019s just completely improv. Again, the show was born and bred in a dinner theater, and we didn\u2019t know how to transition from one scene to another, so they were like, \u201cMarla, just improv something,\u201d and I was like, \u201cOK!\u201d That little tiny moment that we were doing in a basement just kind of blew up, so now there\u2019s a whole section of the show that is completely improv\u2019d by myself every single night. You could to come see the show 30, 40, 80 times \u2014\u00a0there\u2019s somebody who\u2019s seen it 600 times \u2014\u00a0and it will never be the same. Sometimes it\u2019s political satire \u2014\u00a0when that whole Kristi Noem and Bryon Noem thing came out [it was revealed that the husband of the secretary of homeland security, at the time, had a \u201cbimbofication\u201d fetish], I did a whole riff on that. Sometimes, because I haven\u2019t seen any of the other Broadway shows, I do scenes from other shows [imagining what they\u2019re about]. But to have to think about something to do eight different shows a week has been the hardest challenge of my life \u2014 it\u2019s like stand-up comedy.<\/p>\n<p>\n<strong>John and Nathan, you guys have been doing Broadway forever \u2014\u00a0John, your debut was in 1973, and Nathan, yours was in 1982. Are the things that daunted you in the early days still the things that you think about today?<\/strong><\/p>\n<p>\n<strong>LANE<\/strong> Well, because I\u2019m older, I take very good care of myself. It\u2019s like an athletic event and it depends a lot on your stamina. You have to get a lot of sleep. As Ethel Merman said, \u201cYou\u2019ve got to live like a fucking nun!\u201d So with something like <em>Death of a Salesman<\/em>, the whole thing is challenging, to be honest with you. It\u2019s a big challenge, but that\u2019s why I wanted to do it. You want to be giving 100 percent, but on the second show of a two-show day, it becomes a little like an out-of-body experience. And some of that works for Willy Loman because it\u2019s all happening in his head, and he\u2019s living in the past and the present at the same time. But what makes him interesting is he\u2019s fighting to the end. He believes in what he\u2019s told his kids, this flawed version of the American dream, that it\u2019s all about being well-liked. His whole self-worth and idea of success is based on the opinion of others \u2014 which, as actors, we all can relate to!<\/p>\n<p>\n<strong>So many great actors have given fabled performances as Willy Loman. Is that something that gets in your head, Nathan, or are you able to shut that out?<\/strong><\/p>\n<p>Read more <a href=\"https:\/\/uspropertymoves.com\/?p=1224\">Comedy Writer Bridger Winegar\u00a0Said \u201cNo Gifts\u201d \u2014 Now He Has More Than 300 of Them<\/a><\/p>\n<p>\n<strong>LANE<\/strong> Sure. Unfortunately, I\u2019ve seen a lot of them, going back to Lee J. Cobb on television, and yes, I have been haunted by some of that, and I\u2019ve had to block it out. I also had to let go of a lot of my own deeply ingrained feelings about the play. It was challenging through rehearsal, but all you can do is go moment to moment, and talk to the other actors. That\u2019s how you start to create your own Willy Loman. Whatever it is, that\u2019s for other people to judge, but it\u2019s very different from what I initially thought it might be.<\/p>\n<p>\n<strong>John, you\u2019ve said the third act of your show is walking home at the end of the night, because everybody stops you and wants to talk about it! <em>Giant<\/em> has provoked so many think-pieces and conversations and debates, which have caused people to flock to the show \u2014\u00a0you guys made your money back in 10 weeks, which just doesn\u2019t happen.<\/strong> <strong>But can you share if that feedback has caused even you to think about the show differently?<\/strong><\/p>\n<p>\n<strong>LITHGOW<\/strong> Of course it has. I think the best art comes from people who create things that they can\u2019t <em>not<\/em> create. I love new material and working with writers. Of the 25 shows I\u2019ve done, I would say only about six have been revivals \u2014\u00a0that\u2019s probably one of the reasons why a lot of the shows have been flops! It\u2019s very hard to take a brand new play and turn it into a smash hit on Broadway. That is one of the astounding things about <em>Giant<\/em>. For me, the great challenge was navigating how cruel, wittingly and unwittingly, and indisputably antisemitic, this man was, and how adored he was. His work was adored, but he was also adored as a person. I had the great advantage of knowing someone who knew him extremely well, the actress Maria Tucci, who is the widow of Bob Gottlieb, the great editor who was Dahl\u2019s editor at Knopf and fired Dahl from Knopf, even though he was a money machine for them, because he couldn\u2019t stand his people being treated so abominably. I went to Maria as soon as I read the play and I said, \u201cTell me everything.\u201d She loved him and she hated him and she could describe every aspect of his character that gave you that love and that hate. My job in playing this part is revealing \u2014 like peeling an onion \u2014 the very core of his truly horrifying cruelty, to find the reason for it, where it came from.<\/p>\n<p>\n<strong>I have a touchy follow-up, John. <em>Giant<\/em> is a show about an author of beloved children\u2019s books who said some closed-minded things that turned a lot of people off. You\u2019ll soon be seen in the TV series adaptation of <em>Harry Potter<\/em>, which was written by J.K. Rowling, who has said some very closed-minded things about trans people. I wonder if <em>Giant<\/em> has made you think about her and any of that conversation differently? And before you say anything, I want to underscore that you have been an incredible figure in this conversation going back to <em>The World According to Garp<\/em>, in which you played a trans character, and nobody is responsible for anybody else\u2019s comments or behavior. But I think I\u2019d be remiss to not ask about this, given the conversation that <em>Giant<\/em> provokes.<\/strong><\/p>\n<p>\n<strong>LITHGOW<\/strong> Well, the entire issue of J.K. Rowling\u2019s feelings about the transgender issue, it\u2019s something I take very seriously. Interestingly, I was offered Dumbledore in <em>Harry Potter<\/em> just after the premiere at Sundance of a film called <em>Jimpa<\/em> that I made with a bunch of Australians in Amsterdam, a great filmmaker named Sophie Hyde, which was her own story as the mother of a trans teen. I played her mother, Olivia Colman played her, and Aud [Mason-Hyde] played this trans teen. And to my mind, it is the best and the most warm-hearted, open-hearted and positive creation of any film or play on this subject, in total support of kindness and acceptance on this issue, and saw a wonderful opening premiere at Sundance. I then got offered Dumbledore, and only months later did I really understand the depth of this issue in a lot of people\u2019s minds. J.K. Rowling created a fantastic canon for young people. I feel about entertaining young people just the way Roald Dahl did, and the <em>Potter<\/em> stories are beautiful, Dumbledore is a beautiful character \u2014\u00a0gay, incidentally, or not so incidentally \u2014 and it\u2019s a series of stories and episodes that are all about empathy and love compared with cruelty and hate. To my mind, that is the great value of what J.K. Rowling has done, and what I respect her for. The other thing is, I still have not met her. I certainly will. She\u2019s not directly involved with production, at least as far as I\u2019ve experienced it. But I think for the most part, she\u2019s a deeply empathetic person, or she couldn\u2019t have created this. I just disagree with some things she seems to believe.<\/p>\n<p>\n<strong>Let\u2019s close with some fun rapid-fire questions. What\u2019s the most unusual thing in your dressing room?<\/strong><\/p>\n<p>\n<strong>LITHGOW<\/strong> I have a wonderful photograph that was brought to me by an actor named Mark Winkworth, who was in the original cast of <em>The Changing Room<\/em>, my Broadway debut 53 years ago. We had a cast of 22 men, and concurrently with us on Broadway, there was a big starry revival of <em>The Women<\/em> with a whole bunch of famous women, including Myrna Loy and Alexis Smith. The Broadway League staged a press event, a softball game between all the men in <em>The Changing Room<\/em> and all the women in <em>The Women<\/em>. And Mark brought a photograph of all of us, 53 years younger, in our Broadway League T-shirts.<\/p>\n<p>\n<strong>HENRY<\/strong> Well, I\u2019m at Lincoln Center, and it\u2019s bougie! In those bathrooms, we\u2019ve got, what do they call it? A bidet. I\u2019ve never had a dressing room that has had that!<\/p>\n<p>\n<strong>BYRNE<\/strong> At The Roundabout it\u2019s so lovely, they put in the dressing rooms photos of all the actors who were there before. So I\u2019ve got my friends like Ethan Hawke and Lily Rabe up there. It\u2019s magic. I just get lost looking at these photos that are watching over you.<\/p>\n<p>\n<strong>What\u2019s the behavior of audience members in 2026 that you find most annoying?<\/strong><\/p>\n<p>\n<strong>BEAN<\/strong> The wrappers and the ice. It\u2019s like someone pulled them aside and taught them to begin to open them in the quietest moment.<\/p>\n<p>\n<strong>LANE<\/strong> They\u2019re filming the curtain call with their phones! They\u2019re not experiencing it, they\u2019re just filming it for later. It\u2019s weird.<\/p>\n<p>\n<strong>MINDELLE<\/strong> Our show is the complete opposite of <em>Death of a Salesman<\/em> \u2014 it\u2019s like a gay Super Bowl \u2014\u00a0so at the end of the show, we do encourage people to film. But people think that I\u2019m Celine Dion so much that they will sometimes rush the stage and start touching me and trying to hug me as if I\u2019m her. And so, we\u2019ve had to get security down there.<\/p>\n<p>\n<strong>If you could snap your fingers and make it so, what would be the ideal number of performances your show would offer per week?<\/strong><\/p>\n<p>\n<strong>BYRNE<\/strong> Six.<\/p>\n<p>\n<strong>LANE<\/strong> Six.<\/p>\n<p>\n<strong>LITHGOW<\/strong> Six.<\/p>\n<p>\n<strong>HENRY<\/strong> I feel like five.<\/p>\n<p>\n<strong>MINDELLE<\/strong> Four.<\/p>\n<p>\n<strong>Which are we losing?<\/strong><\/p>\n<p>\n<strong>LITHGOW<\/strong> Matin\u00e9es.<\/p>\n<p>\n<strong>BEAN<\/strong> Matin\u00e9es are inhumane.<\/p>\n<p>\n<strong>LITHGOW<\/strong> Although I have to say, our matin\u00e9es have been so crisp and wonderful. I\u2019m a matin\u00e9e fan.<\/p>\n<p>\n<strong>LANE<\/strong> Yes, I love matin\u00e9es, too. I have more energy. And those people really want to be there.<\/p>\n<p>\n<strong>LITHGOW<\/strong> They\u2019re grateful. So let\u2019s cancel the Wednesday nights.<\/p>\n<p>\n<strong>HENRY<\/strong> And just do the Saturday matin\u00e9e?<\/p>\n<p>\n<strong>BEAN<\/strong> Maybe it\u2019s plays versus musicals. Our matin\u00e9e audiences are sleepy. I do love a Sunday matin\u00e9e, though, because your body knows Monday is coming.<\/p>\n<p>\n<strong>LITHGOW<\/strong> When I saw Nathan in <em>The Producers<\/em>, I had just begun rehearsing for <em>Sweet Smell of Success<\/em>. We didn\u2019t know each other very well at that time, but after the show I went to your dressing room to thank you, and you got up from your makeup table and said, \u201cDon\u2019t do it, John!\u201d (<em>Laughs.<\/em>)<\/p>\n<p>\n<strong>LANE<\/strong> When I saw Josh do <em>Ragtime<\/em> \u2014\u00a0and he\u2019s just magnificent in this \u2014 I did think, \u201cHow the hell did I ever do musicals?\u201d I don\u2019t know.<\/p>\n<p>\n<strong>We are <em>The Hollywood Reporter<\/em>, so I have to ask: Would you be interested in being part of a big screen adaptation of your current production?<\/strong><\/p>\n<p>\n<strong>LITHGOW<\/strong> Rose and I have the same experience \u2014 they\u2019re doing \u201ccaptures\u201d of our shows. They filmed ours with three cameras over three nights a performance in London, and it will be released in October.<\/p>\n<p>\n<strong>But let\u2019s say you hear from Steven Spielberg or somebody, and they want to film it as a film, not just filming the stage, are you into that?<\/strong><\/p>\n<p>\n<strong>BEAN<\/strong> Absolutely. I think it\u2019d be cinematically glorious.<\/p>\n<p>\n<strong>MINDELLE<\/strong> Oh, absolutely. This might be my only shot at the silver screen. For my particular show, you could do it like a <em>Reefer Madness<\/em>, a fun, underground kind of thing. I would absolutely want to be a part of it.<\/p>\n<p>\n<strong>BYRNE<\/strong> You know, they did one with Joan Collins, it was a TV movie. I\u2019ve got to check it out and see how it holds up.<\/p>\n<p>\n<strong>LITHGOW<\/strong> Sure, of course. Mainly because if somebody else played it, I would sulk.<\/p>\n<p>\n<strong>LANE<\/strong> It would be hard to do with ours. I mean, you could do a version of it. But this particular production, it\u2019s so theatrical and abstract and psychological. You could do a capture, like what John\u2019s talking about. But if it\u2019s a film, it\u2019s going to be a completely different experience.<\/p>\n<p>\n<strong>HENRY<\/strong> Absolutely. A thousand percent. I\u2019m perfectly in the groove of what Coalhouse Walker Jr. is, with life experience, and have the chops to do it. So, like, let\u2019s go!<\/p>\n<p>\n<strong>LANE<\/strong> You so should do that. It would be great to see that as a big film.<\/p>\n<p>\n<strong>Excluding family, whose attendance at your show has meant the most to you?<\/strong><\/p>\n<p>\n<strong>LITHGOW<\/strong> We had Jerry Seinfeld in. I had a wonderful visit from Timoth\u00e9e Chalamet, who played my grandson in <em>Interstellar<\/em> before he was <em>Timoth\u00e9e Chalamet<\/em>. And I\u2019ve had two high school girlfriends, one just last night \u2014\u00a0women I haven\u2019t seen in 60 years! They look pretty good. (<em>Laughs.<\/em>)<\/p>\n<p>\n<strong>LANE<\/strong> We had Meryl Streep and that was pretty great.<\/p>\n<p>\n<strong>HENRY<\/strong> Michelle Obama came the other day, and then she came backstage and for 10 minutes took pictures with us and told us how important the story was and how incredibly moved she was. That was special.<\/p>\n<p>\n<strong>BYRNE<\/strong> Steven Spielberg. I was like, \u201cOh my God!\u201d And he was so lovely. And Chris Rock came. Chris is a good friend of my husband\u2019s [Bobby Cannnavale], and he\u2019s like the greatest comedian of all time, so I was like, \u201cThank God I didn\u2019t know he was there [until after the performance],\u201d because I wouldn\u2019t have been able to do it.<\/p>\n<p>\n<strong>MINDELLE<\/strong> Because Frankie Grande is in the show, Ariana Grande came \u2014\u00a0an incredible Celine Dion impersonator and also the greatest singer in the world \u2014\u00a0and I saw her in the opening number, and I had a panic attack the entire show. Lorne Michaels also came to see the show. Growing up, <em>SNL<\/em> was a huge thing. And then Patti LuPone came the other night, and she\u2019s featured in our musical as a cardboard cutout, so that was very important for me. (<em>Laughs.<\/em>)<\/p>\n<p>\n<strong>Here\u2019s the big question. Marla: What would you do if Celine showed up?<\/strong><\/p>\n<p>\n<strong>MINDELLE<\/strong> I would fully die onstage. And she would get up from the audience, walk over my dead body, and be like, \u201cOK, girlfriends, I got it, I\u2019ll take it from here!\u201d And the show would be exactly the same.<\/p>\n<p>\n<strong>Last question. Put it out into the universe: If you could play any role on Broadway that you haven\u2019t played before, what would it be?<\/strong><\/p>\n<p>\n<strong>BEAN<\/strong> Coalhouse Walker Jr.! It\u2019s just also one of the best-written roles and they don\u2019t always write that shit for girls.<\/p>\n<p>\n<strong>LITHGOW<\/strong> I always think that I\u2019m better off with other people\u2019s brainstorms. Many times other people are more creative about what you can do than you are yourself. When I was asked to be Winston Churchill [in <em>The Crown<\/em>], I thought they were mad \u2014\u00a0although I said yes immediately. I thought, \u201cWell, if Stephen Daldry and Peter Morgan think I can do this, well, of course, I\u2019ll do it.\u201d I let things surprise me.<\/p>\n<p>\n<strong>LANE<\/strong> There is something about the play <em>Harvey<\/em> that fascinates me, especially for right now. I think you could do more in terms of the technical aspects of the magic of it, more than just a door opening and closing. But I see it as sort of a parable. Not to sound pretentious, but Elwood Dowd is sort of like a Christlike figure. And it\u2019s all about empathy and kindness and the effect that it has on other people who all think he\u2019s just a drunk or crazy. There\u2019s something about it I find very moving.<\/p>\n<p>\n<strong>LITHGOW<\/strong> Lovely idea.<\/p>\n<p>\n<strong>BYRNE<\/strong> I\u2019m a bit like you, John. There are plays I love \u2014 <em>God of Carnage<\/em> is one of my favorite plays, and I love <em>August: Osage County<\/em>. There are all these great works in the canon that I\u2019ve long admired. But I don\u2019t like to [aggressively go after things].<\/p>\n<p>\n<strong>LITHGOW<\/strong> I have to also say, <em>Giant<\/em> feels like a complete experience. It\u2019s been so thrilling. And it\u2019s exhausting. It\u2019s completely draining me. And I have turned 80 years old and, honestly, at this point I can\u2019t imagine doing another Broadway show. I think this is the perfect way to round it up.<\/p>\n<p>Read more <a href=\"https:\/\/uspropertymoves.com\/?p=1222\">\u2018Other Side of the Box\u2019 Filmmaker Caleb Phillips Signs With WME (Exclusive)<\/a><\/p>\n<p>\n<strong>BEAN<\/strong> Thank God I saw it. It was a master class.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Tonys Roundtable: Six Broadway Standouts on Overcoming Their Fears, Provoking Difficult Conversations and Making Magic Eight Times a Week<\/p>\n","protected":false},"author":1,"featured_media":1226,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[153,154,305,955],"class_list":["post-1227","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-broadway","tag-theater","tag-tony-awards","tag-tonys-2026"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Tonys Roundtable: Six Broadway Standouts on Overcoming Their Fears, Provoking Difficult Conversations and Making Magic Eight Times a Week - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=1227\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tonys Roundtable: Six Broadway Standouts on Overcoming Their Fears, Provoking Difficult Conversations and Making Magic Eight Times a Week - 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