New York, ABE, Mazel discussed on Awards Chatter
And you know they took good care of me and didn't let me. Jump off the Brooklyn Bridge. and. I'm so glad I did it because it it it was. Terrifying In you know I, it was it was humbling. To turn. Great. Well, and just kind of interesting. No. The about among other things is that I can't think of anything anyone any character more different from let's say monk this is a guy who is the stiffest most kind of no business right I mean he's Still. Was that itself challenging for a guy who's who's done a lot of more theatrical stuff. It was actually it was and I really credit a David Cromer, the director Who? Really has had to sit on me and and kind of because my impulse is to come up with clever schtick and see if I can get a laugh here. And? Ingratiate myself to the audience and all that good stuff and. And David was really. Really firm and and very articulate to about how you know this this guy and this this material. Just just didn't warrant that and it didn't. It didn't. It didn't require it because it had to do with. Spoke for itself and It was all it was really all about the. Stillness of this guy in the fact that he is quite shut down and. Shut off from his own. From prone zone emotions because he's he's been through so much pain and these. Cars. So it really was a matter of restraining. Exercising enormous restraint. Not to go over those laughs. Well, the timing also is just kind of interesting because I believe it was. Almost, in-between the transition from off Broadway where it was a phenomenon Broadway where it was a phenomenon that. We had our two thousand, sixteen presidential election which in a way I wonder if you think change the the viewer experience of of seeing this production. Absolutely. We were actually that election night was we were in tech for for the off Broadway. Run of that, we were down at the Atlantic theater on Twentieth Street and. These tech days are as this many know are incredibly long. You know you're just doing. Cute you'll lights and southbound and in their grueling days because They there there so long and. A musical like this you offer it would normally take two or three days and and so After. The after we were released, we all went to this club pub around the corner to get some food and watch the results and why it was. It was devastating and. The next day when we came in to do the play. I think it was the first dress rehearsal or the first preview. It was all of a sudden felt like a different play and. Because of what was out there and I think although I have to say I've. Talked to other friends and colleagues who were in place other plays at that time and I think everybody felt that way. It was such a seismic. Shift but in some ways doing play especially are played the band's visit was there was some kind of catharsis to at all to. It brought us all together and. It really good. Warm Way. Yeah. Well I believe it's in the middle of the. Again in the middle of the run of doing one incarnation or the other of the band's visit that you first hear about the script called the Marvelous Mrs Mazel which or the pilot script and I guess I wonder what your initial reaction was and correct me if I have this part. Wrong. But I mean, you're bit I believe. Your family would be of Arab descent you were raised Christian, and now you're being asked to play the patriarch of a Jewish family from nineteen fifties New York in a pilot where the guy doesn't even have that much. Going on. So what what did you? What did you respond to? Obviously, he later does much going on. But what was the initial thing that made you say this is worth being part of. Well, again, a great period for me I love the fifties s to forty s I. Love that I think. You're right. The part of Abe in the pilot is pretty small. It's pretty contained but I responded really to the to the tone to the writing. The rhythm of it, the the intelligence of it, and also the fact that this may the main character midge. was around the age that my I have two daughters so. She's kind of reading between their ages and I kind of. Keyed into that that relationship there. But it's certainly not the first time that I played. Jewish character. and. Three and act one but. Pardons fake and Barnevik man who? Wasn't there. So. So these elements were really were were. Stood out for me. And then I got got got a phone conversation with amy. Sherman Bells and Dan Palladino. I had not met them before, but obviously was van of their work and I just I said look I just like to know what's the What is what do you see for Abe moving forward? Obviously, there's only so much story you can tell in a pilot and it's not the lead part. So you got to take care of that story. In. Their short me that in all of these characters were. Going to be served very very well over time and they gave me an inkling of where this was going to go and I think I really responded to. I trusted that assurance and also like the fact that. It's about. Family and it's about it's about show business. There's a that's a great arena for me and shooting in New York right. And I just moved to New York and IT WAS NEW YORK My God how much better and? It's one of those things that you don't comes along and. You just feel like well. GotTa go. Very lucky again. So. You know last few minutes here I just got to ask you about how was that for a while there you're juggling both the band's visit and Mazel for quite a while. How did you make that work and we should also just really quickly I want note that in the end there were tonys for best musical for the band's visit for Katrina Lenk who also we should say appears in Mazel as the dollar..