Little Known Facts with Ilana Levine - episode #19 with Kathryn Erbe.
Listen to the interview here at Ilana Levine podcast page or here at Lovely Kathryn.
Showing posts with label Interview. Show all posts
Showing posts with label Interview. Show all posts
Saturday, September 3, 2016
Thursday, May 26, 2016
One on One interview
Here it is!
Actress Kathryn Erbe Returns to the Broadway in "The Father"
Published on May 17, 2016
Tony
Award-nominated actress Kathryn Erbe discusses her return to Broadway
opposite Frank Langella in the Manhattan Theatre Company's hit "The
Father." Wednesday, May 18, 2016
Kathryn at One on One with Steve Adubato & THE FATHER gets One Week Extension
Kathryn gave an interview yesterday. Let's hope the One on One with Steve Adubato people will publish it online soon.
Frank Langella-Led THE FATHER get One Week Extension at Manhattan Theatre Club
Manhattan Theatre Club's American premiere of The Father, the new play by Molière Award winner Florian Zeller, with a translation by two-time Tony Award winner Christopher Hampton (Sunset Boulevard, Les Liaisons Dangereuses, God of Carnage) and directed by Tony Award winner Doug Hughes (Doubt, Outside Mullingar, City of Conversation) will extend by one week at MTC's Samuel J. Friedman Theatre (261 West 47th Street). The limited engagement, which opened on April 14 to critical raves, has been extended through Sunday, June 19.
Frank Langella received his seventh Tony nomination for his role in The Father and was awarded the 2016 Outer Critics Circle Award for Outstanding Actor in a Play. Langella is also nominated for the 2016 Drama Desk Award and will be honored at the 2016 Drama League Awards for this performance. The Father has been nominated for the 2016 Tony Award, Drama League Award and Outer Critics Circle Award for Best Play.
Below is a sample of what New York critics had to say about this new production starring three-time Tony Award winner and Academy Award nominee Frank Langella joined by Tony Award nominee Kathryn Erbe ("Law & Order: Criminal Intent," The Speed of Darkness), Brian Avers(Rock 'n' Roll, The Lieutenant of Inishmore), Charles Borland (A Man for All Seasons), Drama Desk Award nominee Hannah Cabell (Pumpgirl at MTC, Grounded), and Kathleen McNenny(Fish in the Dark, An Enemy of the People at MTC).
"Powerful and darkly humorous. Playwright Florian Zeller is a rising star." -Joe Dziemianowicz, Daily News
"Frank Langella gives a must-see performance." -Jesse Green, New York Magazine
"Frank Langella, with that sonorous voice and commanding presence, not only holds the stage, he owns it. When you're not hanging on his every line and gesture, you may stop for a moment to try and study how he does it. But don't bother because his performances are seamless and when he slips into a role, the actor evaporates leaving no trace." - Roma Torre, NY1
"Frank Langella Devastates. Under the confident direction of Doug Hughes, Florian Zeller's The Father has aspects of both a thriller and an absurdist comedy, and something more poignant than either." -Alexis Soloski, The Guardian
Now 80 years old, André (Frank Langella) was once a tap dancer. He lives with his daughter Anne (Kathryn Erbe) and her husband Antoine. Or was he an engineer whose daughter Anne lives in London with her new lover, Pierre? The thing is, he is still wearing his pajamas, and he can't find his watch. He is starting to wonder if he's losing control.
The creative team for The Father includes: Scott Pask (scenic design), Catherine Zuber(costume design), Donald Holder (lighting design), Fitz Patton (original music and sound design), and Jim Steinmeyer (illusion consultant).
Lead support for The Father has been provided by MTC's Producing Fund Partner, Andrew Martin-Weber.
Manhattan Theatre Club, under the leadership of Artistic Director Lynne Meadow and Executive Producer Barry Grove, has become one of the country's most prominent and prestigious theatre companies. Over the past four and a half decades, MTC productions have earned numerous awards including six Pulitzer Prizes and 19 Tony Awards. MTC has a Broadway home at the Samuel J. Friedman Theatre (261 West 47th Street) and two Off-Broadway theatres at New York City Center (131 West 55th Street). Renowned MTC productions include The Father (Tony Nomination for Best Play), Fool For Love by Sam Shepard, Airline Highway by Lisa D'Amour;Casa Valentina by Harvey Fierstein; Outside Mullingar and Doubt by John Patrick Stanley; The Commons of Pensacola by Amanda Peet; Murder Ballad by Julia Jordan and Juliana Nash; Choir Boy by Tarell Alvin McCraney; The Assembled Parties by Richard Greenberg; Wit by MargaretEdson; Venus in Fur by David Ives; Good People and Rabbit Hole by David Lindsay-Abaire; The Whipping Man by Matthew Lopez; Time Stands Still by Donald Margulies; Ruined by LynnNottage; Proof by David Auburn; The Tale of the Allergist's Wife by Charles Busch; Love! Valour! Compassion! by Terrence McNally; The Piano Lesson by August Wilson; Crimes of the Heart by Beth Henley; and Ain't Misbehavin', the Fats Waller musical to name just a few. For more information on MTC, please visit www.ManhattanTheatreClub.com.
Frank Langella received his seventh Tony nomination for his role in The Father and was awarded the 2016 Outer Critics Circle Award for Outstanding Actor in a Play. Langella is also nominated for the 2016 Drama Desk Award and will be honored at the 2016 Drama League Awards for this performance. The Father has been nominated for the 2016 Tony Award, Drama League Award and Outer Critics Circle Award for Best Play.
Below is a sample of what New York critics had to say about this new production starring three-time Tony Award winner and Academy Award nominee Frank Langella joined by Tony Award nominee Kathryn Erbe ("Law & Order: Criminal Intent," The Speed of Darkness), Brian Avers(Rock 'n' Roll, The Lieutenant of Inishmore), Charles Borland (A Man for All Seasons), Drama Desk Award nominee Hannah Cabell (Pumpgirl at MTC, Grounded), and Kathleen McNenny(Fish in the Dark, An Enemy of the People at MTC).
"Powerful and darkly humorous. Playwright Florian Zeller is a rising star." -Joe Dziemianowicz, Daily News
"Frank Langella gives a must-see performance." -Jesse Green, New York Magazine
"Frank Langella, with that sonorous voice and commanding presence, not only holds the stage, he owns it. When you're not hanging on his every line and gesture, you may stop for a moment to try and study how he does it. But don't bother because his performances are seamless and when he slips into a role, the actor evaporates leaving no trace." - Roma Torre, NY1
"Frank Langella Devastates. Under the confident direction of Doug Hughes, Florian Zeller's The Father has aspects of both a thriller and an absurdist comedy, and something more poignant than either." -Alexis Soloski, The Guardian
Now 80 years old, André (Frank Langella) was once a tap dancer. He lives with his daughter Anne (Kathryn Erbe) and her husband Antoine. Or was he an engineer whose daughter Anne lives in London with her new lover, Pierre? The thing is, he is still wearing his pajamas, and he can't find his watch. He is starting to wonder if he's losing control.
The creative team for The Father includes: Scott Pask (scenic design), Catherine Zuber(costume design), Donald Holder (lighting design), Fitz Patton (original music and sound design), and Jim Steinmeyer (illusion consultant).
Lead support for The Father has been provided by MTC's Producing Fund Partner, Andrew Martin-Weber.
Manhattan Theatre Club, under the leadership of Artistic Director Lynne Meadow and Executive Producer Barry Grove, has become one of the country's most prominent and prestigious theatre companies. Over the past four and a half decades, MTC productions have earned numerous awards including six Pulitzer Prizes and 19 Tony Awards. MTC has a Broadway home at the Samuel J. Friedman Theatre (261 West 47th Street) and two Off-Broadway theatres at New York City Center (131 West 55th Street). Renowned MTC productions include The Father (Tony Nomination for Best Play), Fool For Love by Sam Shepard, Airline Highway by Lisa D'Amour;Casa Valentina by Harvey Fierstein; Outside Mullingar and Doubt by John Patrick Stanley; The Commons of Pensacola by Amanda Peet; Murder Ballad by Julia Jordan and Juliana Nash; Choir Boy by Tarell Alvin McCraney; The Assembled Parties by Richard Greenberg; Wit by MargaretEdson; Venus in Fur by David Ives; Good People and Rabbit Hole by David Lindsay-Abaire; The Whipping Man by Matthew Lopez; Time Stands Still by Donald Margulies; Ruined by LynnNottage; Proof by David Auburn; The Tale of the Allergist's Wife by Charles Busch; Love! Valour! Compassion! by Terrence McNally; The Piano Lesson by August Wilson; Crimes of the Heart by Beth Henley; and Ain't Misbehavin', the Fats Waller musical to name just a few. For more information on MTC, please visit www.ManhattanTheatreClub.com.
Sunday, June 7, 2015
Beautiful new Interview
BoradwayWorld.com published a wonderful and long interview with Kathryn this week. Enjoy!
Kathryn and Seth Numrich in Afghanistan, Zimbabwe, America, Kuwait
BWW Interviews: Kathryn Erbe, Star of Stage & Screen
June 4, 2015 by Adrienne Onofri
She became a familiar face in America's living rooms with her 10 years on Law & Order: Criminal Intent, but since that TV series ended in 2011, Kathryn Erbe
has returned to her first love, theater. She is currently portraying
one soldier's mother--and another's hallucination, or perhaps his
salvation--in Afghanistan, Zimbabwe, America, Kuwait, the new off-Broadway play (AZAK for short) written and directed by Daniel Talbott, artistic directory of Rising Phoenix Repertory.
Now in previews and set for a June 9 opening, AZAK is presented by Rattlestick Playwrights Theater, not at the company's usual home on Waverly Place but in the Gym at Judson (Memorial Church), also in Greenwich Village. It's the third Rattlestick play--and the second costarring Seth Numrich--that Erbe's done since hanging up her badge as NYPD detective Alexandra Eames, partner of Vincent D'Onofrio's Det. Robert Goren. Last year she starred as a bisexual artist battling addiction in Rattlestick's Ode to Joy, opposite Arliss Howard and Roxanna Hope. Her other post-Law & Order theater credits include Nikolai and the Others at Lincoln Center Theater and Vineyard Theatre's Checkers.
BroadwayWorld interviewed Erbe on a bench in Washington Square Park, across the street from Judson. The park was full of cap-and-gown-clad graduates and their loved ones lingering from the graduation held earlier in the day for NYU--which just happens to be Erbe's alma mater.
How'd your collaboration with Rattlestick start?
The first play that I did with them was Daniel Talbott's Yosemite. An actress dropped out at the last minute. My agent is Seth's agent and is very good friends with Daniel, and he suggested me for the part, and I had a blast and really fell in love with Daniel's writing. I feel like his perspective is different from anybody else's, and the way that he articulates things is in so many ways exactly what I want to hear on a deep level. The way he talks about love, the way he talks about humanity. So I couldn't wait to work with him again. After that show, [Rattlestick artistic director] David Van Asselt said, "I'm going to find something else for you," and that's how I ended up doing Craig Lucas' play Ode to Joy, which was a two-year, life-changing journey for me. That was also the fifth play I did in 2½ years, and I needed to take a break. Just from being away from home the way you are when you do theater--missing bedtimes and stuff--so I basically swore off plays. And then I found myself in the audience of Tina Landau's production of Big Love. That play made me feel (A) like I wanted to be in love again and (B) I had this little voice that said, "Hm, maybe I'd really like to do a play again." And Daniel called me, if not the next day, two days after. I have a very hard time saying no to him.
What was "life-changing" about Ode to Joy?
Playing that character, Adele, became very close to my heart. Just her life struggle, playing a complicated character like that, but mainly just what happens when you work on something with people over a long period of time--the friendships that develop. It's really special, this work in the theater when you're all sort of in the trenches together. It can be a really fulfilling experience, and working with Craig and Arliss and Roxanna, we all were of the same sort of mindset, and it felt blessed.
The first time we read it, we did a public reading at the Cherry Lane, and that went over so well. I'm a company member of Atlantic, I've been trying to find something to do over there for years, and Neil [Pepe, Atlantic AD] was hoping possibly we'd do it at Atlantic. It took a while for the slot to open up at Rattlestick, so we did readings of it.
Do you especially enjoy acting in new plays as opposed to revivals?
I just go where the work is. I love what Rattlestick stands for in terms of supporting new work and doing work that other people maybe wouldn't be brave enough to do, and it feels like it's about the work more than it is about anything else.
Working with Daniel and working with Rattlestick exposed me to a whole community of young playwrights and directors and actors in New York which I felt completely cut off from doing Law & Order. I really didn't do anything besides Law & Order when I was doing that job. Daniel has this huge community with Rising Phoenix and the stuff they do at Jimmy's. His philosophy of you can make theater anywhere with anything for no money, you can do a play in a day, that it's for the people, by the people, of the people, I really love that. I want to support him in whatever way I can, whether it's doing site-specific work in somebody's backyard on Long Island, or this.
What can you tell us Afghanistan, Zimbabwe, America, Kuwait?
Well, it's a play about war. A postapocalyptic near-future. I think it's an antiwar play. Not an anti-soldier play. There's some dream states, there's some nightmares, there's a lot coming at the audience in lots of different ways and lots of different levels. I would say there are aspects of it that are bleak, and very beautiful. We're here [at Judson] because it's a great big open square. They've basically built a desert in there. It's gorgeous to look at, the technology that they're using in terms of projections and the lighting and the music, it's really stunningly beautiful.
Is it set in those places named in the title?
It's in the desert; it could be many places.
What does it say that maybe hasn't been heard in other works about war?
You know, I don't have a lot of experience seeing a lot of war films, plays about war, soldiers. It's not what I'm necessarily drawn to, but more and more I find myself being sucked into things like The Walking Dead that is not something that I would think I would like at all intellectually. And I don't respond to it intellectually; I respond to it with my heart: the way the world feels like it's going, the way we've f---ed up the environment, quite probably beyond repair, and we're all moving in the direction of trying to figure out how to survive what we've done. I find myself drawn to things that feel more like life-or-death, and how do we get by, how do we work together to get through where we find ourselves in a wasteland. I think that's what Daniel's trying to get at.
What kind of audience reactions are you anticipating?
I will be curious to see. Like all of Daniel's work, it encompasses all aspects of humanness. There's some really ugly stuff and there's some really beautiful stuff. I hope that it will be moving and also really thought-provoking about war and about the cost of war and where we're headed.
How did you prepare for this role?
I've done some research in terms of reading things written by soldiers, written by mothers of soldiers. Right now I'm reading Trumbo's book Johnny Got His Gun, and just thinking about war and the politics of war, the money involved. I love that Pope Francis is talking about how people are making a lot of money off of wars.
Have you done political theater in the past?
That's where I thought I would go when I was in college. I was very interested in political theater, and I did a lot of it while I was at school, and imagined myself having that kind of life--doing theater for specific communities to try to bring about activism and be an activist myself. Somebody might go to see Craig's piece and think it was a political statement in that my character had both a husband and a girlfriend, but it was just up there. The Grapes of Wrath could be considered political, and Speed of Darkness was about Vietnam vets and how their lives were altered by the war.
You mentioned seeing Big Love at Signature Theatre last winter. Have you seen other shows in New York recently that made an impression on you?
I have, yeah. The Insurgents at Labyrinth and Bedlam's two versions of Twelfth Night. I loved Rasheeda Speaking. I absolutely loved Fun Home--I feel like that's kind of a miracle of a show. I just saw An American in Paris and I loved that, for other reasons. I really love being an audience member as much as I like being an actor.
Did Law & Order feel theatrical in any way?
We got to work with so many amazing New York theater actors. And Vincent, obviously, is just a hugely talented actor, hugely creative, and was always coming up with theatrical ways of doing that job. And it's not on paper--a lot of that came out of his own head and a collaboration between him and Rene [Balcer, co-creator of the series]. The scenes I had a lot of fun with were where we were putting on characters to catch a criminal, where we'd really get to skewer people.
Once I got over the sort of shock of the life change that [doing a TV series] is, I cried. Every day I would cry, missing my daughter--she was 5 when we started, and I was gone for 18 hours five days a week, would come home as the sun was coming up on a Saturday morning. I think during that time I felt very much like a worker bee: go and punch the clock, do my job, go home, try to have as much of a home life as I could.
Would you ever do episodic television again?
Sure I would. It was nice to have a steady job, and a family, so to speak, of a crew that we worked with for 11 years. It scares me to think about just because of what it does mean for your life, and I hopefully would be choosy in what I do.
You got your first professional job while still in college, so you've had a long career at this point. Does it ever feel like you've been at it too long?
Sometimes I wonder, because the business has changed so much. I'm almost 50. I refuse to get plastic surgery of any kind. I don't tweet, I don't have a website. I don't even own my name [as a URL]; someone else bought it, so I'd have to buy it from someone if I wanted to create a website with my name. I'm not willing to adapt in the way that a lot of people are, and that's been my case really from the beginning. I've always put my kids and my family first. So those choices have maybe affected my opportunities. Now in my "old age"--my middle age--I just want to be happy, and enjoy being home when I'm home and enjoy working when I'm working. I used to spend a lot of time in the not-so-distant past worrying about work and what other people are doing and why am I not doing it, and I don't want to do that anymore. I really am so happy with the opportunities that come my way, and I love being home. I have a really full life--dogs, kids... My daughter's at Bennington, and my son is 11. He's going into sixth grade, so there's a lot still to be done at home.
What else have you been working on lately?
I'm involved with several new plays in development, a couple of which I've been attached to for a year or more--playwrights who I love whose work I really want to be a part of and support. As far as any concrete thing, I don't have anything lined up. Turning 50.
Any special birthday plans?
I'm hopefully going to take my kids to Disney World. Hopefully going to go on a trip with my sister and some of my girlfriends. Go to New Hampshire--my mom turned 75, and her husband turned 90, so we're going to have a triple birthday celebration. It's going to be a whole summer of celebration of life. That sounds good to me.
Now in previews and set for a June 9 opening, AZAK is presented by Rattlestick Playwrights Theater, not at the company's usual home on Waverly Place but in the Gym at Judson (Memorial Church), also in Greenwich Village. It's the third Rattlestick play--and the second costarring Seth Numrich--that Erbe's done since hanging up her badge as NYPD detective Alexandra Eames, partner of Vincent D'Onofrio's Det. Robert Goren. Last year she starred as a bisexual artist battling addiction in Rattlestick's Ode to Joy, opposite Arliss Howard and Roxanna Hope. Her other post-Law & Order theater credits include Nikolai and the Others at Lincoln Center Theater and Vineyard Theatre's Checkers.
BroadwayWorld interviewed Erbe on a bench in Washington Square Park, across the street from Judson. The park was full of cap-and-gown-clad graduates and their loved ones lingering from the graduation held earlier in the day for NYU--which just happens to be Erbe's alma mater.
How'd your collaboration with Rattlestick start?
The first play that I did with them was Daniel Talbott's Yosemite. An actress dropped out at the last minute. My agent is Seth's agent and is very good friends with Daniel, and he suggested me for the part, and I had a blast and really fell in love with Daniel's writing. I feel like his perspective is different from anybody else's, and the way that he articulates things is in so many ways exactly what I want to hear on a deep level. The way he talks about love, the way he talks about humanity. So I couldn't wait to work with him again. After that show, [Rattlestick artistic director] David Van Asselt said, "I'm going to find something else for you," and that's how I ended up doing Craig Lucas' play Ode to Joy, which was a two-year, life-changing journey for me. That was also the fifth play I did in 2½ years, and I needed to take a break. Just from being away from home the way you are when you do theater--missing bedtimes and stuff--so I basically swore off plays. And then I found myself in the audience of Tina Landau's production of Big Love. That play made me feel (A) like I wanted to be in love again and (B) I had this little voice that said, "Hm, maybe I'd really like to do a play again." And Daniel called me, if not the next day, two days after. I have a very hard time saying no to him.
What was "life-changing" about Ode to Joy?
Playing that character, Adele, became very close to my heart. Just her life struggle, playing a complicated character like that, but mainly just what happens when you work on something with people over a long period of time--the friendships that develop. It's really special, this work in the theater when you're all sort of in the trenches together. It can be a really fulfilling experience, and working with Craig and Arliss and Roxanna, we all were of the same sort of mindset, and it felt blessed.
The first time we read it, we did a public reading at the Cherry Lane, and that went over so well. I'm a company member of Atlantic, I've been trying to find something to do over there for years, and Neil [Pepe, Atlantic AD] was hoping possibly we'd do it at Atlantic. It took a while for the slot to open up at Rattlestick, so we did readings of it.
Do you especially enjoy acting in new plays as opposed to revivals?
I just go where the work is. I love what Rattlestick stands for in terms of supporting new work and doing work that other people maybe wouldn't be brave enough to do, and it feels like it's about the work more than it is about anything else.
Working with Daniel and working with Rattlestick exposed me to a whole community of young playwrights and directors and actors in New York which I felt completely cut off from doing Law & Order. I really didn't do anything besides Law & Order when I was doing that job. Daniel has this huge community with Rising Phoenix and the stuff they do at Jimmy's. His philosophy of you can make theater anywhere with anything for no money, you can do a play in a day, that it's for the people, by the people, of the people, I really love that. I want to support him in whatever way I can, whether it's doing site-specific work in somebody's backyard on Long Island, or this.
What can you tell us Afghanistan, Zimbabwe, America, Kuwait?
Well, it's a play about war. A postapocalyptic near-future. I think it's an antiwar play. Not an anti-soldier play. There's some dream states, there's some nightmares, there's a lot coming at the audience in lots of different ways and lots of different levels. I would say there are aspects of it that are bleak, and very beautiful. We're here [at Judson] because it's a great big open square. They've basically built a desert in there. It's gorgeous to look at, the technology that they're using in terms of projections and the lighting and the music, it's really stunningly beautiful.
Is it set in those places named in the title?
It's in the desert; it could be many places.
What does it say that maybe hasn't been heard in other works about war?
You know, I don't have a lot of experience seeing a lot of war films, plays about war, soldiers. It's not what I'm necessarily drawn to, but more and more I find myself being sucked into things like The Walking Dead that is not something that I would think I would like at all intellectually. And I don't respond to it intellectually; I respond to it with my heart: the way the world feels like it's going, the way we've f---ed up the environment, quite probably beyond repair, and we're all moving in the direction of trying to figure out how to survive what we've done. I find myself drawn to things that feel more like life-or-death, and how do we get by, how do we work together to get through where we find ourselves in a wasteland. I think that's what Daniel's trying to get at.
What kind of audience reactions are you anticipating?
I will be curious to see. Like all of Daniel's work, it encompasses all aspects of humanness. There's some really ugly stuff and there's some really beautiful stuff. I hope that it will be moving and also really thought-provoking about war and about the cost of war and where we're headed.
How did you prepare for this role?
I've done some research in terms of reading things written by soldiers, written by mothers of soldiers. Right now I'm reading Trumbo's book Johnny Got His Gun, and just thinking about war and the politics of war, the money involved. I love that Pope Francis is talking about how people are making a lot of money off of wars.
Have you done political theater in the past?
That's where I thought I would go when I was in college. I was very interested in political theater, and I did a lot of it while I was at school, and imagined myself having that kind of life--doing theater for specific communities to try to bring about activism and be an activist myself. Somebody might go to see Craig's piece and think it was a political statement in that my character had both a husband and a girlfriend, but it was just up there. The Grapes of Wrath could be considered political, and Speed of Darkness was about Vietnam vets and how their lives were altered by the war.
You mentioned seeing Big Love at Signature Theatre last winter. Have you seen other shows in New York recently that made an impression on you?
I have, yeah. The Insurgents at Labyrinth and Bedlam's two versions of Twelfth Night. I loved Rasheeda Speaking. I absolutely loved Fun Home--I feel like that's kind of a miracle of a show. I just saw An American in Paris and I loved that, for other reasons. I really love being an audience member as much as I like being an actor.
Did Law & Order feel theatrical in any way?
We got to work with so many amazing New York theater actors. And Vincent, obviously, is just a hugely talented actor, hugely creative, and was always coming up with theatrical ways of doing that job. And it's not on paper--a lot of that came out of his own head and a collaboration between him and Rene [Balcer, co-creator of the series]. The scenes I had a lot of fun with were where we were putting on characters to catch a criminal, where we'd really get to skewer people.
Once I got over the sort of shock of the life change that [doing a TV series] is, I cried. Every day I would cry, missing my daughter--she was 5 when we started, and I was gone for 18 hours five days a week, would come home as the sun was coming up on a Saturday morning. I think during that time I felt very much like a worker bee: go and punch the clock, do my job, go home, try to have as much of a home life as I could.
Would you ever do episodic television again?
Sure I would. It was nice to have a steady job, and a family, so to speak, of a crew that we worked with for 11 years. It scares me to think about just because of what it does mean for your life, and I hopefully would be choosy in what I do.
You got your first professional job while still in college, so you've had a long career at this point. Does it ever feel like you've been at it too long?
Sometimes I wonder, because the business has changed so much. I'm almost 50. I refuse to get plastic surgery of any kind. I don't tweet, I don't have a website. I don't even own my name [as a URL]; someone else bought it, so I'd have to buy it from someone if I wanted to create a website with my name. I'm not willing to adapt in the way that a lot of people are, and that's been my case really from the beginning. I've always put my kids and my family first. So those choices have maybe affected my opportunities. Now in my "old age"--my middle age--I just want to be happy, and enjoy being home when I'm home and enjoy working when I'm working. I used to spend a lot of time in the not-so-distant past worrying about work and what other people are doing and why am I not doing it, and I don't want to do that anymore. I really am so happy with the opportunities that come my way, and I love being home. I have a really full life--dogs, kids... My daughter's at Bennington, and my son is 11. He's going into sixth grade, so there's a lot still to be done at home.
What else have you been working on lately?
I'm involved with several new plays in development, a couple of which I've been attached to for a year or more--playwrights who I love whose work I really want to be a part of and support. As far as any concrete thing, I don't have anything lined up. Turning 50.
Any special birthday plans?
I'm hopefully going to take my kids to Disney World. Hopefully going to go on a trip with my sister and some of my girlfriends. Go to New Hampshire--my mom turned 75, and her husband turned 90, so we're going to have a triple birthday celebration. It's going to be a whole summer of celebration of life. That sounds good to me.
Wednesday, April 9, 2014
The Artie Lange Show with Kathry Erbe
Yesterday was an amazing day. Blanca sent me a personalized Ode to Joy program with Kathryn's sign and greetings. I also got a beautiful Easter card by Alberto and a little addition was the TV Guide edition with Norman Reedus on it. JIPPY!
I also saw a tweet by the Artie Lange Show, saying Kathryn was a guest on Monday. After a little research I found:
I'm so glad they also offer a podcast. What a Gem! Listen to Kathryn from minute 25 on.
It's a big overview of her career, talking about Soap Operas (better money than library), What About Bob (smoking and Bill Murray leaving the set), Criminal Intent and her relationship to Vincent. I love that she said it was like a marriage. Eames' eye-rolling was built around Goren. She also talks about getting older, her daughter with her own show biz projects and Ode to Joy.
The biggest surprise, they also filmed the interview and posted it on youtube. Enjoy the whole interview 17 minutes and also watch Kathryn.
Thursday, April 3, 2014
Kathryn Erbe on Drinking, Laughing and Crying in "Ode to Joy"'s Story of Self-Discovery
Published on Mar 24, 2014
Get tickets to "Ode to Joy": http://www.broadway.com/shows/ode-joy/
"Ode to Joy"'s Kathryn Erbe on the complicated, but entertaining journey of finding your own wisdom.
"Ode to Joy"'s Kathryn Erbe on the complicated, but entertaining journey of finding your own wisdom.
Wednesday, October 16, 2013
BWW TV Exclusive: Kathryn Erbe & John Pankow Talk TACT's NATURAL AFFECTION
Wonderful interview with Kathryn Erbe & John Pankow.
[clear my throat: she is mentioning Blanca my mom and ME, JIPPY!]
Source: BroadWayWorld.com
[clear my throat: she is mentioning Blanca my mom and ME, JIPPY!]
Source: BroadWayWorld.com
Friday, May 3, 2013
Marsha Ginsberg Talks About the Set of Nikolai and the Others
Marsha Ginsberg Talks About the Set
The other afternoon I sat with Marsha Ginsberg, the set designer for Nikolai and the Others,
in the audience of the Mitzi E. Newhouse theater. A rehearsal for Act
Two of the play was going on, so we had to converse quietly, but as
everything on the stage was well illuminated I could ask more specific
questions of her work than if we'd met for coffee at a neighborhood
cafe.
I asked Ginsberg about inspirations for the set's furnishings. "There is a certain amount of Bauhaus and Wiener Werkstatte influence," she replied. "Not in an overall sense: we didn't want it to look as if Lucia" - Lucia Davidova, at whose Westport, CT farmhouse the play takes place - "had hired a decorator." She added: "We wanted to create a home as a comfortable gathering place. I imagined Lucia had a "modern" European aesthetic and collected objects and furniture of personal significance over an extended period of time. It's also a period" - the play takes place in 1948 - "when Bauhaus architects and designers (i.e. Gropius and Breuer, who left Europe) are finding their work and ideas infiltrating the arts and architecture in the U.S."
To illustrate her remark, Ginsberg, who studied art at Cooper Union in New York and set design at NYU, pointed to an elegant trolley in the middle of the set. "That's a Marcel Breuer K40 sofa table, from 1927/28. We found it at a shop in Hudson, NY." I mentioned other pieces onstage. There were dark, mahogany-stained chairs with Josef Hoffman-fabric upholstered seats. "We found those on eBay," Ginsberg said. "They are said to be Jugendstil, Thonet." I pointed farther downstage : "And those chairs we found on German eBay."
We moved on to the shape of the set's farmhouse. "I like to visit real places to get information for my design," Ginsberg said. "For Nikolai, I visited several older barn locations in the country in western Massachusetts and Connecticut. I took a lot of photos and the design developed from there."
Ginsberg said it was important that the barn set in Nikolai - there are two other sets: inside the house and just outside it - "convey the sense of a barn as a creative workplace, where Stravinsky and Balanchine could have believably worked on something like their Orpheus. I mentioned all those 1940s movies, released only a little earlier than Nikolai's timeframe, in which Mickey and Judy put on a show in the barn.
Ginsberg's reference point was more appropriate to a non-Hollywood production. "I was thinking of the barn at Tanglewood," she said. "Which isn't used much anymore. I remember it because, growing up in New York, my family had a place in the Berkshires, and we'd go to concerts at Tanglewood in the summer." As for her more recent professional connection to music, Ginsberg has designed sets for many operas, including for New York City Opera's February 2013 production of Thomas Ades's Powder Her Face. Her next project is Somewhere Fun, a new play, by Jenny Schwartz, beginning performances at off-Broadway's Vineyard Theater on May 15.
As Ginsberg told me more about her family and career background - she counts the designer Robert Israel as a mentor - I kept looking at the sloping farmhouse roof frame for the Nikolai rehearsal we were watching. "I've built quite a few A frames, or near-A frames" Ginsberg said. "Part of what I learned here was how to conceptualize it for the Newhouse's thrust stage."
Ginsberg said that the thrust stage allowed her and David Cromer, the director of Nikolai, to think of the Newhouse space "sculpturally." "In a thrust," she explained, "things can exist in three dimensions in a way that they can't in a proscenium and the audience interacts with the space uniquely by virtue of viewing the set differently depending on where they sit." She added: "We also raised the floor to be level with the first audience row. I think that brings the audience a little closer to the characters and their interactions."
Brendan Lemon is the American theater critic for the Financial Times and the editor of lemonwade.com.
I asked Ginsberg about inspirations for the set's furnishings. "There is a certain amount of Bauhaus and Wiener Werkstatte influence," she replied. "Not in an overall sense: we didn't want it to look as if Lucia" - Lucia Davidova, at whose Westport, CT farmhouse the play takes place - "had hired a decorator." She added: "We wanted to create a home as a comfortable gathering place. I imagined Lucia had a "modern" European aesthetic and collected objects and furniture of personal significance over an extended period of time. It's also a period" - the play takes place in 1948 - "when Bauhaus architects and designers (i.e. Gropius and Breuer, who left Europe) are finding their work and ideas infiltrating the arts and architecture in the U.S."
To illustrate her remark, Ginsberg, who studied art at Cooper Union in New York and set design at NYU, pointed to an elegant trolley in the middle of the set. "That's a Marcel Breuer K40 sofa table, from 1927/28. We found it at a shop in Hudson, NY." I mentioned other pieces onstage. There were dark, mahogany-stained chairs with Josef Hoffman-fabric upholstered seats. "We found those on eBay," Ginsberg said. "They are said to be Jugendstil, Thonet." I pointed farther downstage : "And those chairs we found on German eBay."
We moved on to the shape of the set's farmhouse. "I like to visit real places to get information for my design," Ginsberg said. "For Nikolai, I visited several older barn locations in the country in western Massachusetts and Connecticut. I took a lot of photos and the design developed from there."
Ginsberg said it was important that the barn set in Nikolai - there are two other sets: inside the house and just outside it - "convey the sense of a barn as a creative workplace, where Stravinsky and Balanchine could have believably worked on something like their Orpheus. I mentioned all those 1940s movies, released only a little earlier than Nikolai's timeframe, in which Mickey and Judy put on a show in the barn.
Ginsberg's reference point was more appropriate to a non-Hollywood production. "I was thinking of the barn at Tanglewood," she said. "Which isn't used much anymore. I remember it because, growing up in New York, my family had a place in the Berkshires, and we'd go to concerts at Tanglewood in the summer." As for her more recent professional connection to music, Ginsberg has designed sets for many operas, including for New York City Opera's February 2013 production of Thomas Ades's Powder Her Face. Her next project is Somewhere Fun, a new play, by Jenny Schwartz, beginning performances at off-Broadway's Vineyard Theater on May 15.
As Ginsberg told me more about her family and career background - she counts the designer Robert Israel as a mentor - I kept looking at the sloping farmhouse roof frame for the Nikolai rehearsal we were watching. "I've built quite a few A frames, or near-A frames" Ginsberg said. "Part of what I learned here was how to conceptualize it for the Newhouse's thrust stage."
Ginsberg said that the thrust stage allowed her and David Cromer, the director of Nikolai, to think of the Newhouse space "sculpturally." "In a thrust," she explained, "things can exist in three dimensions in a way that they can't in a proscenium and the audience interacts with the space uniquely by virtue of viewing the set differently depending on where they sit." She added: "We also raised the floor to be level with the first audience row. I think that brings the audience a little closer to the characters and their interactions."
Brendan Lemon is the American theater critic for the Financial Times and the editor of lemonwade.com.
Wednesday, October 24, 2012
More Press for Kathryn
.
Guest Star Kathryn Erbe Talks SVU.
102.9 DRC-FM
KATHRYN ERBE tells Jerry Kristafer that "Lt Eames" is now with Homeland Security and teaming up with "Law & Order: SVU".
Tuesday, October 16, 2012
The Buzzcast
I love how much press Kathryn is getting lately. Follow @BuzzWorthyRadio on twitter to get the interview.
EDIT:
Listen to the phone interview here at the buzzcast postcast.
EDIT:
Listen to the phone interview here at the buzzcast postcast.
Sunday, October 14, 2012
Kathryn at NBC Today
TODAY | Aired on October 14, 2012
‘Law & Order’ star Kathryn Erbe: ‘I miss Eames’
Fans of “Law & Order” will be welcoming back a familiar face in this week’s episode. Kathryn Erbe will guest star, bringing back the character she played for over a decade on “Law & Order: Criminal Intent.”
OMG, Kathryn all alone (with her sister) at NBC Today. I love the interview, I love her hair and outfit and yes, I miss Alex as well.
Tuesday, June 26, 2012
One year after...
I miss to see you work together.
Thank you Diane for pointing me again on their last common duty.
Thank you Diane for pointing me again on their last common duty.
Monday, May 7, 2012
Picture amendment
Over the last couple of days there popped up a few more pictures of Kathryn at her late red carpet visits and theater events. Enjoy:
If you want to see 17 more photos of Kathryn at the Steppenwolf Red or White Ball, go to the manocam photography homepage. They made beautiful pictures and captured the event very well. (Unfortunately not one pic 'Kathryn dancing'.)
Furthermore here is a short video of the night.
Plus, here you find the photo sources:
- Yoni Levy - Flickr
- Bruce Glikas - Broadway.com
- Jerry Nunn - Windy City Media Group
- Candid Candace
- Christopher Ocampo Studios
- Lenspeak - Kyle Flubacker Photography
Tuesday, April 24, 2012
Sunday, February 12, 2012
Kathryn Erbe speaks about YOSEMITE at Rattlestick Playwrights Theater
OMG: Porn Name - Frida Rolina. It looks like they had much fun at the rehearsals, lol.
Uploaded by RattlestickPT on Feb 11, 2012
Uploaded by RattlestickPT on Feb 11, 2012
Interview with Kathryn Erbe about her role in YOSEMITE by Daniel Talbott at Rattlestick Playwrights Theater (running through Feb. 2th)
Saturday, February 11, 2012
Kathryn with Petula Clark
twitgoo.com/5efhic Kathyrn Erbe starring "downtown" in @RPT224's YOSEMITE w/ "Downtown" songstress Petula Clark @NYLiveTV today!
Wow, what a hap, yesterday I sang Downtown in the Clean Room while measuring the etching steps of copper with the alpha stepper profilometer and in the night Kathryn met Petula Clark.
Friday, February 10, 2012
NY Live TV
OandMCo O&M Co
http://twitgoo.com/5eetyv Kathryn Erbe chats with the@NYLiveTV girls about @RPT224's YOSEMITE.
Do you know more about this show? Is there a pod cast? My quick search didn't bring up anything. But I'm tired now and will try again tomorrow.
http://twitgoo.com/5eetyv Kathryn Erbe chats with the
Do you know more about this show? Is there a pod cast? My quick search didn't bring up anything. But I'm tired now and will try again tomorrow.
Tuesday, February 7, 2012
PLAYBILL.COM'S CUE & A: Yosemite Star Kathryn Erbe
Rattlestick Theater tweeted and published on facebook that there will be another talkback with Kathryn, the other three actors and the playwright tomorrow.
Hey all! YOSEMITE is getting some great buzz and we really hope you'll come check it out! Here are some DISCOUNT CODES:
-YTA for $15 tickets for ALL THEATER ARTISTS (because you rock and we love you)
-YSTU10 for $10 student tickets
-YU30 for $15 under 30 tix
There will also be a talkback this Wednesday with the cast and playwright!
Hey all! YOSEMITE is getting some great buzz and we really hope you'll come check it out! Here are some DISCOUNT CODES:
-YTA for $15 tickets for ALL THEATER ARTISTS (because you rock and we love you)
-YSTU10 for $10 student tickets
-YU30 for $15 under 30 tix
There will also be a talkback this Wednesday with the cast and playwright!
I also saw on twitter that Kathryn gave an interview to Playbill.com. Enjoy:
By Matthew Blank
07 Feb 2012
Tony Award nominee Kathryn Erbe, curently back onstage in Daniel Talbott's Yosemite at the Rattlestick Theater, fills out Playbill.com's questionnaire with random facts, backstage trivia and pop-culture tidbits.
By Matthew Blank
07 Feb 2012
Tony Award nominee Kathryn Erbe, curently back onstage in Daniel Talbott's Yosemite at the Rattlestick Theater, fills out Playbill.com's questionnaire with random facts, backstage trivia and pop-culture tidbits.
Erbe has appeared on Broadway in The Grapes of Wrath, A Month in the Country and The Speed of Darkness, earning a 1991 Tony nomination for the latter performance.
She may be best known as Det. Alexandra Eames on "Law & Order: Criminal Intent." Other screen work includes "Rich in Love," "Kiss of Death," "Chicken Soup," "Homicide: Life on the Street" and "Oz."
Full given name: Kathryn Elsbeth Erbe
Where you were born/where you were raised: Born in Boston, MA. Grew up in Newton, MA.
Zodiac Sign: Cancer
What your parents did/do for a living: Dad: Research Geneticist, Mom: Actuary and Landscape Preservationist
Special skills: Making the best of "challenging situations"
Something you're REALLY bad at: Promoting myself!
First Broadway show you ever saw: The Rink with Chita Rivera. Growing up in the Boston area we saw many tours of shows: Annie, A Chorus Line. But the first true Broadway show I remember seeing was The Rink on a high school trip to see theatre in New York.
If you could go back in time and catch any performance, what would it be? A Streetcar Named Desire with Marlon Brando, Jessica Tandy and Kim Hunter
Current show—other than your own—that you have been recommending to friends: War Horse
Favorite showtune(s) of all time: "And I Am Telling You" from Dreamgirls
Some favorite modern musicals: The Book of Mormon, A Chorus Line
Some favorite contemporary playwrights: Sam Shepard, Daniel Talbott, Moira Buffini, Theresa Rebeck
Stage or screen stars of the past you would most have loved to perform with: There are so many, but the one who just came to mind is Lynn Redgrave. I would love to have a chance to work with her again on stage or on any screen. She was one of my heroes, as an artist but especially as a person and a MOM.
The one performance – attended - that you will never forget: Balm in Gilead, Steppenwolf at Circle Repertory (1984)
Music that makes you cry, any genre: At the moment, Patti Griffin's "Flaming Red" and "Living With Ghosts." I am using both albums to prepare for Yosemite before every performance.
Your personal acting idols: Jessica Lange, Laurie Metcalf, Sissy Spacek
MAC or PC? MAC!!!!
Most played song on your iPod: At the moment, "N**gas In Paris" by Jay-Z and Kanye West. It makes me feel ballsy and like I could run another 5 miles...
Most-visited websites: barneys.com (I am a late night shopping addict), cartoonnetwork.com (my son plays the games)
Last book you read: “The Corrections” (after reading "Freedom" and loving it)
Must-see TV show(s): "American Horror Story", "Dexter", "The Wire", "Friday Night Lights", "Modern Family", "Arrested Development"
Last good movie you saw: "Tree of Life"
Some films you consider classics: "To Kill a Mockingbird", "On the Waterfront", "Tree of Life"
Performer you would drop everything to go see: Jessica Lange
Pop culture guilty pleasure: The Sunday Styles section of The New York Times
Favorite cities: NYC, Paris, London
First CD/Tape/LP you owned: Honestly, probably a Sesame Street album or Mister Rogers, but I wore out my copy of the Annie soundtrack.
First stage kiss: Playing Stella and kissing Stanley at Steppenwolf
Moment you knew you wanted to perform for a living: In kindergarten, playing the Little Red Hen
How you got your Equity card: The first play I was ever paid to do was The Grapes Of Wrath, with Steppenwolf, on Broadway.
Favorite pre-/post- show meal (note where): French Fries at Cafe Un Deux Trois
Favorite liquid refreshment: Water
Pre-show rituals or warm-ups: Yoga, reading the script, listening to music
Worst flubbed line/missed cue/onstage mishap: In The Grapes of Wrath I played "the woman who gets shot in Hooverville," and one night the gun didn't go off. Thankfully, I chose to stay "in the moment" and not pretend I got shot anyway. I actually considered pretending the gun went off! SO embarrassing !!!!!
Worst costume ever: Curlers in Breathing Lessons
What drew you back to the stage and this role? Yosemite blew me away after reading it for the first time. I knew in my gut I wanted to be a part of it. I fell in love with the characters and their story. I was terrified of the emotional journey but knew I needed to do it anyway, or actually because it was so scary. I crave acting onstage and have missed it terribly.
A few of your favorite screen roles: Maggie in "Stirs Of Echoes," Lucille in "Rich In Love," Liz in "Dream with the Fishes"
Something about you that surprises people: That I was a high school drop-out at 16 who ended up going to an alternative HS, graduating and going on to NYU.
Career you would want if not a performer: Teacher
Three things you can't live without: My kids (that's two) and books
"I'll never understand why…" ... life isn't FAIR!
Words of advice for aspiring performers: Do everything you can to feel good about yourself and don't let rejection discourage you!
Tuesday, January 17, 2012
Yosemite - last rehearsal
Remember, Yosemite's previews will start tomorrow at 8pm.Here you can read two articles/interviews with Seth Numrich and Pedro Pascal:
Tell me about Yosemite. What was the rehearsal process like? What do you love most about the play?
Yosemite is Daniel Talbott's new play that deals with a very dark moment in the life of a family who live in a trailer park near in the foothills of the Sierra mountains in northern California. I am in love with this play and am so happy to be involved in it. I think it is a bold and daring piece of theatre and I'm very excited about sharing it with audiences at Rattlestick. The rehearsal process has been pretty short and very intense. We've found that since the subject of the matter is very heavy we all need to keep the rehearsal room light while we're working. There is a lot of silliness. But when it comes to the work everyone has been extremely committed and I am so proud of what we are creating together.
Read the whole text at zackcalhoon.blogspot.com posted by Zack.
...But he's recently been pursuing his interest in directing as well, and is currently helming the Rattlestick Playwrights Theatre's production of Yosemite, a new play by Daniel Talbott that stars Kathryn Erbe and Seth Numrich.
The play concerns a family in crisis: an older brother, a middle sister and a younger brother. "They've been sent out to the woods by their mother to bury their infant sibling, who has stopped breathing in its crib and been dead about three days," he explains.
Indeed, Yosemite has challenged him to find action in the lyrical language. "Through language, these characters are trying to escape the situation they're in," says Pascal. "It's just them and their words that are so purely motivated by the emotional need to survive."...
Read the whole text at TheaterMania.com written by Edward Karam.
Thursday, January 5, 2012
PULSE: WHAT I'M WEARING NOW; The Actress
It's wonderful to find old articles about Kathryn but this way it's much harder to find additional stuff like belonging photos. I also don't found much information about this supporting breast cancer party.
By Ellen Tien, NYTimes.com
Published: October 28, 2001
If Prada and Gucci are generally Hollywood's Most Wanted -- with movie and television actors covering themselves in brand names as if they were race cars -- Kathryn Erbe is uniquely un-Hollywood. "I won't spend lavishly on a trend," she said, "because I know I'll only wear it for about a minute."
Ms. Erbe, who plays a detective on "Law and Order: Criminal Intent," fills her closet with clothes from stores like Banana Republic and Urban Outfitters. While her television wardrobe consists mostly of tailored pantsuits by Armani and Ann Taylor ("The network guys said, 'No skirts.' Since I'm only 5 foot 4, they felt that pants showed my figure more"), her standard daytime wear consists of Levi's jeans, Gap T-shirts and a Tibetan monks' bag.
Last week at a party sponsored by Saks Fifth Avenue for National Breast Cancer Month, Ms. Erbe dressed true to form, in a Fashion Targets Breast Cancer T-shirt ($25 at Saks Fifth Avenue), Joie jeans with crystal detailing on the pockets and legs ($125 at www.funkylala .com), a Catherine Malandrino red star belt ($198 at Henri Bendel), red stiletto Michael Perry ankle boots ($440 at Michael Perry) and an old Betsey Johnson leopard handbag.
This winter, Ms. Erbe plans to stock up on Chaiken and Capone trousers and studded boots and bags from Eidolen in Brooklyn. She's also searching for the "perfect" down coat. And while her Brooklyn address means she generally shops downtown, "my shrink's uptown, so I can pop into the uptown stores once a week," she said.
Photo (Christopher Smith for The New York Times)
By Ellen Tien, NYTimes.com
Published: October 28, 2001
If Prada and Gucci are generally Hollywood's Most Wanted -- with movie and television actors covering themselves in brand names as if they were race cars -- Kathryn Erbe is uniquely un-Hollywood. "I won't spend lavishly on a trend," she said, "because I know I'll only wear it for about a minute."
Ms. Erbe, who plays a detective on "Law and Order: Criminal Intent," fills her closet with clothes from stores like Banana Republic and Urban Outfitters. While her television wardrobe consists mostly of tailored pantsuits by Armani and Ann Taylor ("The network guys said, 'No skirts.' Since I'm only 5 foot 4, they felt that pants showed my figure more"), her standard daytime wear consists of Levi's jeans, Gap T-shirts and a Tibetan monks' bag.
Last week at a party sponsored by Saks Fifth Avenue for National Breast Cancer Month, Ms. Erbe dressed true to form, in a Fashion Targets Breast Cancer T-shirt ($25 at Saks Fifth Avenue), Joie jeans with crystal detailing on the pockets and legs ($125 at www.funkylala .com), a Catherine Malandrino red star belt ($198 at Henri Bendel), red stiletto Michael Perry ankle boots ($440 at Michael Perry) and an old Betsey Johnson leopard handbag.
This winter, Ms. Erbe plans to stock up on Chaiken and Capone trousers and studded boots and bags from Eidolen in Brooklyn. She's also searching for the "perfect" down coat. And while her Brooklyn address means she generally shops downtown, "my shrink's uptown, so I can pop into the uptown stores once a week," she said.
Photo (Christopher Smith for The New York Times)
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