{"id":1501,"date":"2026-06-09T20:38:43","date_gmt":"2026-06-09T20:38:43","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=1501"},"modified":"2026-06-09T20:38:43","modified_gmt":"2026-06-09T20:38:43","slug":"laurie-metcalf-its-been-a-year-of-getting-everything-i-wished-for","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=1501","title":{"rendered":"Laurie Metcalf: \u201cIt\u2019s Been a Year of Getting Everything I Wished for\u201d"},"content":{"rendered":"
\n<\/p>\n
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\n\tIn less than a week, Laurie Metcalf accepted two prizes live on stage in New York: one, a Gotham TV Award for her hilarious turn in Dan Levy\u2019s Big Mistakes<\/em>, his TV follow-up to Schitt\u2019s Creek<\/em>; the other, a Tony for her devastating portrayal of Linda Loman in the new Broadway revival of Death of a Salesman<\/em>. She\u2019s still giving that performance at the Winter Garden Theatre eight times a week, between all of the attention and accolades.\u00a0<\/p>\n

Read more BET Awards: Teyana Taylor to Receive Icon of the Year Honor<\/a><\/p>\n

\n\t\u201cI forgot what it\u2019s like doing a show during Tony season,\u201d she says over Zoom with a wide grin that indicates she\u2019s definitely not complaining.\u00a0<\/p>\n

\n\tIt\u2019s an exciting time for the 70-year-old Illinois native, who\u2019s emerged over the past decade as one of her generation\u2019s most decorated stage actors \u2014 she\u2019s taken home three Tonys in nine years \u2014 while continuing to break new ground on screen. Having emerged with her Emmy-winning work on Roseanne<\/em>, she\u2019s since won another trophy from the TV Academy for Hacks<\/em>, HBO Max\u2019s character-driven comedy which just brought Metcalf back for a surprise appearance in its final season. She also recently took on one of the darkest roles of her career in the divisive new season of Monster<\/em>, centered on Ed Gein (Charlie Hunnam), as the suspected serial killer\u2019s fanatically religious and abusive mother.<\/p>\n

\n\tOn a quiet afternoon just before the Tonys, and a few hours before Salesman <\/em>showtime, Metcalf caught up with The Hollywood Reporter <\/em>to talk about all of that and more.<\/p>\n

\nWhen you do have your work in two projects being honored at the same time, in <\/strong>Big Mistakes <\/em><\/strong>and <\/strong>Death of a Salesman<\/em><\/strong>, how do you get your head around that? Especially when the latter remains ongoing.\u00a0<\/strong>\n<\/p>\n

\n\tIt\u2019s been a year of getting everything I wished for. I didn\u2019t realize at the time how much that was. But when it all came true, then it all came together. During the past year, I\u2019ve gone from Big Mistakes<\/em> to two Broadway shows, and now it\u2019ll be back to Big Mistakes<\/em> again, a couple of weeks after Death of a Salesman<\/em> is over. It\u2019s one of those seasons that actors can only hope for, and the fact that they\u2019re both being celebrated is such a rarity. I am trying to appreciate all sides of it because something like this just does not happen very often.<\/p>\n

\nYou were recognized for a revival in Death of a Salesman<\/em>, but you did another Broadway show this past fall just before it, Little Bear Ridge Road<\/em>, which was nominated for best play. Are original works on stage important to you, in terms of what you say yes to? You\u2019ve done a number of them of late.<\/strong><\/p>\n

\n\tI love working on a new play. I love being in the room with the playwright, and I love coming up with the very first incarnation of the character, and you\u2019re right, I\u2019ve been able to do that recently with Lucas Hnath and Sam Hunter and Bruce Norris. I got to be in the room with these people and originate their parts, their words. I find that especially thrilling. I\u2019ve never had a negative experience, let\u2019s put it that way, of the playwright being in the room. And I didn\u2019t know how spoiled I was with all these plays being 90 minutes long. (Laughs<\/em>.) I don\u2019t know the last time I even did a play that had an intermission in it. It was probably Virginia Woolf<\/em>, and that closed down during COVID \u2014 we were the first show to shut down. So Death of a Salesma<\/em>n has been a good wake-up call for me. This is not a lightweight show to get done eight times a week.<\/p>\n

\nAm I right that <\/strong>Little Bear Ridge Road<\/em><\/strong> ended up closing early?<\/strong><\/p>\n

\n\tYes, it did.<\/p>\n

\nSo what was that like? I am curious about how you\u2019ve found bringing these shows to life, because it\u2019s been challenging for new works to find an audience since COVID.<\/strong><\/p>\n

\n\tI feel like that\u2019s not even in my lane. I don\u2019t have any experience in that. I\u2019m surprised, with all the moving parts, that anything gets produced \u2014 things can change every other day. I\u2019m always surprised that we end up in a rehearsal room somewhere and we\u2019ve made it that far. As far as the longevity of things, that\u2019s out of my hands. I like to be counted on to bring 150 percent to rehearsals and to the run and try and give an audience the best ride that I can come up with in the rehearsal room.\u00a0<\/p>\n

\nIn the times I\u2019ve seen you on stage, I\u2019ve always been surprised by your approach to a character, whether it\u2019s Hillary Clinton or Linda Loman.\u00a0<\/strong><\/p>\n

\n\tI love interpreting parts, especially parts maybe that I wouldn\u2019t be cast in normally. Say Virginia Woolf<\/em>: I don\u2019t get mistaken for Elizabeth Taylor, but my challenge in a part like that is to figure out, \u201cWell, what\u2019s a different way in? How can I get the same things that this character wants? How can I do them in my own way?\u201d I love roles like that that make you think way outside the box. We used to do that back in the day at Steppenwolf too, because we couldn\u2019t find plays that had eight 20-year-olds in them, so we would pick a play based on two really good young parts, and then everybody else had to play way too young or way too old. It shakes things up, makes you get really creative.\u00a0<\/p>\n

\n\tRehearsals are part scavenger hunt, part treasure hunt, part anthropological dig where you\u2019re just going clue by clue by clue with what-ifs: \u201cOh, you\u2019re doing that,\u201d or \u201cWell, maybe I\u2019ll do this.\u201d Then it\u2019s just discovery after discovery and a lot of dead ends, a lot of wrong turns. Sometimes the parts in the script that I have the most trouble with in the rehearsal room, because they don\u2019t come easily, are the areas that I enjoy in the end doing the most during a play. It\u2019s funny. That\u2019s why it\u2019s like a never ending job. It\u2019s never going to get stale ever.<\/p>\n

\nHow do you find that, to pivot, with your role in <\/strong>Big Mistakes<\/em><\/strong>? It\u2019s a television show for one thing, but also a very different tone. Is it still the same process of trying to find an unexpected way in?<\/strong><\/p>\n

\n\tYes. I look very different than I thought that I would look in that. When I first read it, I had an immediate image of this character, and then after talking to Dan Levy, he imagined it a whole different way. So step one, I\u2019m going to look very different than I thought. So we get rid of that comfort zone idea. I couldn\u2019t have seen this, but the way that he was shooting the show was not what I had expected. Sometimes in TV, I\u2019m used to not as much overlapping and spontaneity and maybe even ad-libbing. That was wide open to us, and that was a big learning curve for me, just because I\u2019m not used to it. I usually stick to my lines and figure out a unique spin on a line.<\/p>\n

Read more Fast Man Standing: Jak Crawford Is Currently the Only American Driver in F1<\/a><\/p>\n

\n\tNow that we know that we have season two coming up, I hope to be a little less intimidated by working that way. I hope that I\u2019m able to join in, especially with Dan and Taylor Ortega, in the kind of banter that they\u2019re able to do, because when you can do it, it makes the whole thing just really come alive and look so spontaneous. I am going to dare myself, challenge myself, in season two to come out of my shell a little bit. If those guys depart from the script, I\u2019m going to see if I can hang in there toe to toe with them a little better.<\/p>\n

\nYou\u2019ve done quite a bit of TV comedy. Was that a new way of working for you?\u00a0<\/strong><\/p>\n

\n\tYeah, the only other experience I had that was with Getting On<\/em>.<\/p>\n

\nA brilliant show.\u00a0<\/strong><\/p>\n

\n\tIt\u2019s one of my favorites. It wasn\u2019t necessarily that we were doing all this overlapping or anything, but it was shot in a similar way where we had a couple of floating cameras that moved and you weren\u2019t ever really even sure where they were. Even though you have a monologue, maybe it\u2019s not even on you. They\u2019re getting reactions from different people. So that\u2019s the only other time I got to experience that.\u00a0<\/p>\n

\nYou came into that show with two other very noted comic actors in Alex Borstein and Niecy Nash-Betts, and yet all of you were doing something different than what you were known for at the time.\u00a0<\/strong><\/p>\n

\n\tIt was wonderful casting, and I don\u2019t know if those guys knew what they were doing, but the three of us together \u2014 we were all a little different from those original characters [in the original British version], of course in our own ways, but the three of us hit it off off-camera immediately. The writing was so funny. Sometimes in that show, you just had to play against the humor, in order to just get through scenes, because they were so funny and character-driven. I was talking to Alex just the other day and lamenting that there wasn\u2019t a reboot of Getting On<\/em>, because I would be there in one second. She said, \u201cWell, I\u2019ll approach the guys, see what they\u2019re thinking.\u201d I secretly have my fingers crossed about that happening.<\/p>\n

\nYou also returned to <\/strong>Hacks <\/em><\/strong>near the end of its run this season. You get to really go for it there, but you\u2019re also coming in as a guest star, which is different for the process, right?<\/strong><\/p>\n

\n\tIt\u2019s different. They are in the middle of a very well-run machine. When you\u2019re a cameo actor or whatever coming in for one day, maybe two, I find myself scrambling to get the feel of the place at first and the rhythm and how everything works. You\u2019re just dropped in, and you\u2019re going to drop out the next day. A lot of it for me is trying to scope out what the tone is for the show: How big can it go? How small does it have to be tonally in the performance? Jean [Smart] actually came on and did an episode of Getting On<\/em>, so we know each other, but it\u2019s her show. Maybe she felt the same coming onto Getting O<\/em>n because I was in the machine and she was dropped in on that one. Because even for people with a lot of experience and TV under their belt, it\u2019s a little intimidating.<\/p>\n

\n\tThe fact that those writers originally came up with a character named Weed still makes me laugh. And the fact that they found a perfect way three seasons later to bring Weed back in a clutch situation, I also find hysterical. I was so happy, and I\u2019m sure audiences thought, \u201cWell, we\u2019ll never hear from that character again,\u201d because basically she got fired and kicked off the bus and never heard from again. All of a sudden, Deborah really needs her. It was so clever the way they brought her back. And they saved the costume. It\u2019s the exact same costume and everything. So that was like an old glove, I\u2019ll tell you.<\/p>\n

\nComing in for a shorter period of time, though, do you maybe feel that permission to go a little bigger? Weed is certainly a disruptive force.\u00a0\u00a0<\/strong><\/p>\n

\n\tYeah. I\u2019ve been lucky on shows like that. If I make a big, bold choice \u2014 you\u2019ll either be told, \u201cNo way,\u201d or \u201cGo ahead.\u201d I did one episode of Monk <\/em>and I was playing a character that interacted with Tony Shalhoub. It was a quirky character, but I took it to a level that was beyond quirkiness. I changed my look. It was outrageous. When I started pitching what I thought she would look and act like, it scared a lot of people on that well-oiled machine. Tony just said, \u201cAh, just let her do what she wants.\u201d And so they did. I\u2019ll have to go back and look at it and see if it\u2019s as broad as I think it is, but I\u2019m pretty sure it is.\u00a0<\/p>\n

\nWas <\/strong>Hacks <\/em><\/strong>the same way?<\/strong><\/p>\n

\n\tYeah. I got into the wardrobe and without much supervision, I don\u2019t think, from the writers. Then I showed up on set and just started screaming. I started being way too loud, and they let me go for it.<\/p>\n

\nI don\u2019t think you\u2019ve been in a show with a tone like <\/strong>Monster <\/em><\/strong>before, which also aired this season. I imagine that was pretty tough skin to live in. How did you experience that?<\/strong><\/p>\n

\n\tI know that the scenes came across as intense and maybe even cruel, I\u2019m not sure \u2014 definitely intense \u2014 but I\u2019ve got to tell you that I did most of my scenes only with Charlie [Hunnam], and between the two of us, we actually had some fun. We knew that we didn\u2019t want to have their relationship stereotypically set in the way that mother was just this monster; we were trying to find a balance whenever we could of, \u201cOK, it\u2019s misguided, but is there some love under there? Is there someone trying to teach her son some life lessons?\u201d That\u2019s what he and I were searching for, just not to let it just be black and white, to find a little bit of gray in the mix. I don\u2019t know if we succeeded, but it kept us from just being burnt out at the end of the day because we were looking for nuanced, smaller moments where they could even enjoy themselves a little bit or have a nice meal or do a little dance. So those things helped us, helped me. I was a drop in the bucket in that series, but it helped me not crash and burn at the end of a day.<\/p>\n

\nWhy do you say you don\u2019t know if you succeeded?<\/strong><\/p>\n

\n\tI don\u2019t know if people could see any heart in any of the relationship, or any of the love. Did it just remain too unbalanced, that he was just the victim of her? I don\u2019t know. I don\u2019t know what audiences took away, but that\u2019s what we were aiming for.<\/p>\n

\nIs audience or critical reaction something you try to avoid?<\/strong><\/p>\n

\n\tI try to. I don\u2019t know what a specific audience member will pick up on or relate to. I have no idea. I just try to stay out ahead of the audience. I try to build in some surprises along the way. I don\u2019t want to be predictable as a character. I guess that quality equals boring to me. I don\u2019t want to be boring. That\u2019s unforgivable.<\/p>\n

Read more Broadway Box Office: Nominees See Pre-Tonys Bumps, \u2018Harry Potter\u2019 Skyrockets<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Metcalf just won her third Tony and is in the Emmy race for three different projects: "I don\u2019t want to be boring," she says.<\/p>\n","protected":false},"author":1,"featured_media":1500,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[1323,245,87,153,1324,1325,1326,1327,1328,815,154,954],"class_list":["post-1501","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-alex-borstein","tag-awards","tag-big-mistakes","tag-broadway","tag-getting-on","tag-hacks","tag-laurie-metcalf","tag-niecy-nash","tag-niecy-nash-betts","tag-roseanne","tag-theater","tag-tonys"],"yoast_head":"\nLaurie Metcalf: \u201cIt\u2019s Been a Year of Getting Everything I Wished for\u201d - 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=1501\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Laurie Metcalf: \u201cIt\u2019s Been a Year of Getting Everything I Wished for\u201d - 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