Back To One

When Nicolette Robinson made her Broadway debut in September, taking over the lead role of Jenna in “Waitress,” she was not just fond of Sara Bareilles’ hit musical, she had been listening to the cast album cathartically as she went through emotional ups and downs in her own life. This might be part of why I found her “Jenna” so connected to the material, so alive. We talk about what led up to that Broadway debut night, stepping through the complex engulfing that is “Hamilton” (her husband Leslie Odom Jr. won a Tony for the musical), and what her inner actor needs before that curtain rises. (Robinson’s limited run in “Waitress” is through October 28)

The hilarious Taran Killam lets us peek under the hood of his comedic craft in this half hour. He stars in the new ABC series “Single Parents” (premiering September 26th) and the comedy “Night School” (opening September 28th) opposite Kevin Hart and Tiffany Haddish. He’s probably best known for his 6 years on Saturday Night Live. We talk about how that “bootcamp” prepared him for almost anything. But his talent goes beyond comedy. He writes, directs (check out his film “Killing Gunther” on demand), and sings (he was King George III in “Hamilton”). Plus he finally answers a question I have been trying to ask comedic actors since this show began.

Linus Roache has played upstanding characters on “Law and Order” and “Homeland” but he had to plumb the depths and reach the epicenter of narcissism to play Jeremiah Sand in “Mandy,” and it’s a frightening joy to behold. He talks about the draining yet rewarding time bringing this character to life and the guidance and trust he had from director Panos Cosmatos. Plus he answers a listener question about the faith life of his character, King Ecbert, in the TV series “Vikings.”

Ashlie Atkinson is getting kudos for playing Connie Kendrickson, the motherly yet evil KKK wife, in Spike Lee’s “Blackkklansman.” We talk about the unique prep work that went into inhabiting her and the tools she used to stay present inside such a sick character. We also chat about her approach to comedy, particularly in the Ingrid Jungermann web series “F to 7th,” and working with Craig Zobel in both “Compliance” (a favorite of mine, as may listeners know) and now the brand new CBS All Access show “One Dollar.”

John Cho is perhaps best known for playing Sulu in the “Star Trek” reboots and Harold in the “Harold and Kumar” films. His new movie “Searching” takes place entirely on computer screens. Cho’s performance is one of the reasons why it is a successful piece of true cinema and not a novelty. We discuss the unique challenges of performing alone in some scenes and trusting director Aneesh Chaganty to navigate him through the space. We also talk about one of my favorite recent indie films “Columbus” (directed by Kogonada) and the connection he felt with co-star Haley Lu Richardson that truly powers the film.

His portrayal of “Richie" on the HBO series “Looking” brought Raúl Castillo some serious recognition and started moving him into bigger and better parts. One such role is “Pops” in the astonishing queer coming-of-age film “We The Animals” (in theaters now) directed by Jeremiah Zagar from the Justin Torres best-seller. Castillo talks in depth about his process of bringing this complex character to life, and the importance of owning your space as an actor. Plus we do a deep-dive into the straight man’s approach to same-sex on-camera kissing.

His performances in “Spring Awakening” and “American Idiot” are probably what John Gallagher Jr. is most known for at the moment (he won a Tony for the former), and are often what get him labeled a “musical theater guy,” but they were the only musicals he’s done in his nearly 20 year career. I ask him about two recent play productions (“Long Day’s Journey Into Night” and “Jerusalem”) that I suspect were very formative for him, and his latest screen role in the important and moving indie “The Miseducation of Cameron Post.” And, of course, I couldn’t let him go without talking about Sorkin. 

Seven seasons on the sitcom “That 70’s Show” led Topher Grace to roles in Steven Soderbergh’s “Traffic,” “In Good Company,” a not entirely successful turn as “Venom” in “Spider Man 3,” and lighter projects like “Win A Date With Tad Hamilton,” and “Valentine’s Day.” He then decided to change the trajectory of his career. He told his agents he wanted to work exclusively with great film artists in environments that inspired him. Worthy projects like “Interstellar,” “Truth” and “War Machine” followed. And this year, Grace’s next chapter continues with David Robert Mitchell's “Under the Silver Lake” and the challenging role of David Duke in Spike Lee’s “Blackkklansman” (Opening August 10th). In our woefully brief time together, Grace talks about his work in a charmingly straightforward and insightful way. 

The “stay positive and keep it simple” approach Ann Dowd has toward her work is truly inspiring. A go-to character-actor-extraordinaire for 30 years, she has now received wide acclaim (and an Emmy) for her portrayal of the terrifyingly devout Aunt Lydia in “The Handmaid’s Tale.” And her pitch perfect performance in Craig Zobel’s “Compliance” is, in my opinion, a tour de force for the ages. In this half hour, she talks about the nuts and bolts of playing these roles and generously lets us peek “under the hood” at the inner workings of her craft. Inspiration is guaranteed.

Grace Rex has been a series regular on the British sitcom “High and Dry,” a recurring guest star on “The Good Wife,” and had roles in “Master of None”, “Mindhunter" and “Boardwalk Empire,” among many other TV shows and films.  For me, her finespun and hilarious work in Ingrid Jungermann’s “Women Who Kill” solidified her place among the uniquely talented comedic actors to watch. We talk about one special moment in that film, the “bizarre” endeavor of auditioning, and NOT getting into a co-dependent relationship with acting.

We really get to know the brilliant actor Theodore Bouloukos in this hour. He lets us peek in on him as a child fascinated, perhaps to a peculiar degree, with design, typography, and channel logos. And then what led him to performance art with Brock Enright and others, and  the "self training" of student film parts that led to feature roles and works exhibited and staged the world over. We learn the components that now make him a unique talent in the New York film world. I am thrilled and privileged that we get to take a journey inside the gifted mind of this one-of-a-kind performer, and I think you will be as well. 

John Christopher Jones is a veteran “actor’s actor” with many Broadway shows including Simon Gray's “Otherwise Engaged” (directed by Harold Pinter), “Hurlyburly” (directed by Mike Nichols), “The Iceman Cometh” (with Jason Robards), and Shaw’s “Heartbreak House.” He is the subject of a documentary film, “The Endgame Project,” which follows him in his tenth year with Parkinson's as he rehearses and performs Beckett's masterpiece. A “text-lover” through and through, he continues to translate the major plays of Chekov (he received a Lortel Award for his version of “The Cherry Orchard”) and work on his memoir. I’ve often heard the word “craftsman” used in relation to an actor, but not until talking to Mr. Jones did its full meaning sink in. 

There is, perhaps, no actor at the moment more synonymous with New York indie filmmaking than Keith Poulson. His uncanny comedic sensibilities first caught my attention in Bob Byington’s “Somebody Up There Likes Me.” He’s since honed his mastery of the low key “throw away” in dozens of low budget gems and appeared in nearly everything made recently by the prolific Brooklyn filmmakers Alex Ross Perry and Nathan Silver. He got to stretch his wings a bit in Zach Clark’s “Little Sister,” where he played a severely disfigured Iraq War veteran. We talk about the incestuous world of independent film acting in New York City, why he can’t do sit-coms, and the beauty of Ctrl-F. 

Not every ingénue is deserving of the attention Zoey Deutch is about to get. But this 23 year old already has the miraculous and mysterious skill of a veteran actor. Since her brilliantly nuanced performance in “Flower,” I have wanted to find out the secret to her magic. Her natural talent shines equally bright in heart-wrenching dramas such as “Before I Fall” and wild comedies like “The Year of Spectacular Men.” And now she has delivered a rom-com-pantheon-worthy performance opposite Glen Powell in the Netflix film “Set It Up.” We talk about “process and not outcome," being “right for a part and not just liking it,” and the “miracle” (my word) of The Pizza Scene. To say Zoey Deutch is about to be a giant star somehow belittles the power and artistry I believe she possesses. Instead, allow me to introduce her with one word I use sparingly: Maestro.

Glen Powell gives me hope for the future of the movie industry. He crushed the role of legendary astronaut John Glenn in “Hidden Figures,” and donned some 80s duds in Richard Linklater’s “Everybody Wants Some,” but he really grabbed my attention in the brand new Netflix rom-com “Set It Up,” where, in my humble opinion, he has crafted a classic, for-all-time, romantic lead performance opposite the incomparable Zoey Deutch. We talk about his process in general and do a deep dive into his work in “Set It Up” in particular. And by the end, I come closer to understanding why this movie works so well. Hint number one: Glen Powell.

Lea Thompson has a lot of wisdom to share. Her work as an actor spans three decades with hit films like the “Back To The Future”  trilogy and “Some Kind of Wonderful” to successful television shows like “Caroline in the City” and “Switched at Birth.” She recently started a second chapter as a director. Her first feature film “The Year of Spectacular Men” (opening Friday June 15th) stars her daughters Madelyn and Zoey Deutch and was written by Madelyn. We talk about how this true family affair was stitched together with nothing but love, and how actors need to be “director-proof” & “writer-proof,” and why, only now, she finally considers herself deserving of a place at the table as an artist.

The brilliant J. Smith-Cameron blew us away in “Margaret” (written and directed by her husband, Kenneth Lonergan) and in the acclaimed series “Rectify.” Currently she’s starring in the new play “Peace For Mary Frances” (with Lois Smith), and the praiseworthy film “Nancy” (written and directed by Christina Choe and co-staring Andrea Riseborough and Steve Buscemi), which opens Friday June 8th. We talk extensively about her work in the latest two pieces and how her desire for rehearsal is sometimes satisfied in a roundabout way on a TV shoot. She also shares what she does right before she steps on the stage and how she feeds her “inner actor” when she’s not working.

Sami Gayle has played Nicky Reagan on the hit CBS drama “Blue Bloods” for eight seasons, performed on Broadway a few times, acted opposite Adrien Brody in her first film, and she’s only 22. She now stars in “Candy Jar,” a fun and smart new Netflix film set in the world of high school debate, which was written by her brother Chad. We talk about the unique way the work deepens when you have played a character over a period of time, and why “quality over quantity” is the approach she’s taking with her career.

I finished Lee Grant's incredible autobiography "I Said Yes To Everything" right before sitting down with her and that was a huge mistake, only because it was frustrating to have such a limited time with the legendary actress after reading her extraordinary story. Consider this episode a tiny drop in the ocean of this astounding life. She was nominated for an Oscar for her first screen role in William Wyler's "Detective Story" and then was blacklisted by HUAC for 12 long, painful years. She rebuilt her career with roles in "Peyton Place," "In The Heat Of The Night," and "Shampoo" (which earned her an Academy Award), then had a second career as a successful director (she was the first woman to win a DGA award). She talks about Lee Strasberg vs. Sanford Meisner, mentions an amazing bit of direction from Mike Nichols, and paints a vivid picture of the incident that ended her stage career. If this episode sends you running out to buy her book, I would be very happy. 

At the moment, Harry Lennix is perhaps best known for his portrayal of FBI agent Harold Cooper on NBC’s “The Blacklist.” The breadth and depth of his work on the stage and screen go well beyond that hit show, however, with film roles spanning from Robert Townsend’s “The Five Heartbeats” and Julie Taymor’s “Titus,” to General Swanwick in both “Man of Steel” and “Batman vs. Superman,” and on Broadway in August Wilson’s final play “Radio Golf," and “Cymbeline” at The Royal Shakespeare Company. In 2014 Lennix created Exponent Media Group and began producing his own content such as “H4,” a fresh interpretation of Shakespeare’s “Henry IV” featuring an all black cast filmed onstage and in the streets of South Central LA, and the ambitious “Revival!,” an epic musical re-imagining of the Gospel of John. In this episode, Harry generously shares his vast knowledge of the classic foundations of the acting craft while skillfully placing a few perfect sports metaphors, but if you’re here just to listen to his beautiful voi