Outtak: Ja McTeer on Daniel Radcliffe and her first gay iend - Metro Weekly

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Ja McTeer, the Albert Nobbs -star plays gay aga and sets lbian hearts a-flutter.

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OUTTAK: JA MCTEER ON DANIEL RADCLIFFE AND HER FIRST GAY IEND

* janet mcteer gay *

Ja McTeerJa McTeer, the Albert Nobbs -star plays gay aga and sets lbian hearts a-flutter. McTeer, 50, noted for her selectn of uber-challengg rol, has never played FTM transgenr — but she certaly has played gay before. The only thg she has mon wh the Hubert character is that they’re both gay.

I also asked McTeer a qutn I equently pose to straight actors I terview: “Do you remember the first time a gay person me out to you? “I remember the first person who me out to me who I knew was gay and other people didn’t asmuch as I gused that they were gay. When I went to llege, I met a lot of gay people and felt like they were the odd on out.

There was a lot of gay-bashg.

JA MCTEER DELIGHTED BY 'ALBERT NOBBS' GAY AND LBIAN SUPPORT/WILL KRISTA SMH'S 'OUT OF CHARACTER' JO LATE NIGHT ROSTER?

I felt that that was somethg I very, very, very much related to, on a very ep sort of emotnal many, many years, people thought I was gay and I never once put anyone right. Mostly I ed to thk, “Do you not hontly thk that if I was gay, given the parts that I play, do you not thk I’d be standg up and shoutg that out loud? ” I’m hopefully a good actrs, who’s playg good characters, whether they’re straight or gay or transgenr or you were playg Hubert, a woman livg as a man 19th-century Dubl “Albert Nobbs, ” did you feel like you learned anythg about what ’s like beg a man?

If you asked Hubert if he was gay or straight or transgenr, he’d go, “I don’t know what you’re talkg about, I’m jt me.

*BEAR-MAGAZINE.COM* JANET MCTEER GAY

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class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="McTeer wants to be known for the parts she plays not for who she is." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">McTeer wants to be known for the parts she plays, not for who she is.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph by Pari Dovic for The New Yorker</span></div></figure></div><p class="has-dropp has-dropp__lead-standard-headg">Some actrs prefer to meet a journalist for the first time wh a prs agent tow; some opt for the ntraly of a rtrant; some suggt the distractg hubbub of the sound stage. The Brish actrs Ja McTeer’s place of choice for an ial get-together was kayaks. Onstage and off, McTeer, who is reprisg her recent Wt End triumph Christopher Hampton’s “L Liaisons Dangers” on Broadway this fall, has an appete for adventure. “I’m gung ho,” she said. “I’d rather lose large than w slightly. I thk life is an oil patg, not a waterlor.” It was that spir that she upped sticks om London seven years ago to move to Mae, the home state of her hband, Joseph Coleman.</p><p class="paywall">McTeer and Coleman, a poet and fashn nsultant, built a hoe on a ten-acre plot jt south of Harpswell, hidn om the road by fort. When I arrived there Augt, two pale-blue sea kayaks were propped agast a pe tree nearby. On the wraparound porch were a stone Buddha, a tackle box and rigged fishg pol, a barbecue, and a bird feer. A blue-and-whe buoy hung om the ont door, which opened to a warm, unrpeted knotty-pe clutter: a wood-burng stove wh a throw g ont of for their large black Spone Italiano, Stella; blanket-vered sofas; miature tras on a wdowsill; duck ys and a stuffed-animal chimp; a Unn Jack pned to the back wall; a Smh-Corona manual typewrer on the kchen unter, bi a table rved om a piece of pasture pe by Coleman’s father. Old sus ed as ffee tabl were piled wh books: Hemgway, Cheever, Hayn Carth, Billy Colls, and Coleman’s jt-published first llectn of poetry, “45° North Latu.”</p><p class="paywall">After s of an actor’s peripatetic existence, McTeer, who is fifty-five, rarely spends more than a few weeks away om her hoe, her garn, and the extend Coleman clan, which clus his parents and his six siblgs, as well as Joseph, Jr., his teen-age son, om a prev marriage, who liv five down the road. She rells a nversatn she had, her early thirti, wh the actrs Phyllida Law, who mentned that she’d jt turned down a job. “I was, like, ‘Why? Why? It sounds like such fun.’ She said, ‘It was June. The wisteria blooms June.’ And I remember thkg, I want to <em>be</em> that—somebody who n say, ‘Right now, right here, the wisteria is more important to me.’ ”</p><p class="paywall">McTeer, who is a lhe six feet one and, she acknowledg, “sort of Amazonian”—McTall is her nickname—lugged the kayaks to the flatbed of her blue Ford pickup and lashed them place. (At <em class="small">RADA</em>, the Royal Amy of Dramatic Arts, London, the early eighti, she won the prize for bt stage fight, as well as the Bancroft Gold Medal for bt actrs.) At the lnchg spot, she slipped the kayaks to the murk of the tuary water, which meanred unr a bridge and out to the crenulated shorele of Cas Bay. Manverg her kayak to the middle of the let, she turned down the brim of her hat to shield her ey om the glare off the water, which was a radiant green, reflectg the nearby meadows.</p><p class="paywall">We head out to the wdy bay, aimg for an island osprey sanctuary half a e away. When we got there, the ospreys—mother, father, and fledglg—were rince on a woon platform built above the tree le at the island’s hight pot. McTeer paddled to the other si of the island to get a closer look at the drama that was unfoldg. The osprey parents were urgg their balky youngster off the platform and to flight. Sudnly the fledglg seemed to hurl self to a gt, makg a wi, uneven loop before crash-landg back onto the platform. A red powerboat cised past wh two shirtls men drkg beer and talkg loudly. “They didn’t even notice,” McTeer said, when they were gone. “Obliv to all of but their own natur. That’s life.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Back at the hoe, McTeer told me that she is chary of media attentn. Her face don’t appear on the ver of magaz; she do no endorsements; she isn’t gossip-lumn fodr. And—after nearly thirty years of nsistently high-libre work that has earned her a Tony Award, an Olivier Award, two Amy Award nomatns, and the Orr of the Brish Empire—the Inter has only a snt half-dozen articl about her. She didn’t even have a P.R. agent until earlier this year. She wants to be known for the parts she plays, not for who she is. As she told the <em>Daily Telegraph</em> 1996, “When I take off my stage makp and walk out of the door, my obligatn to the dience is over.” To me, she said, “There’s a reason I live the Mae woods, where nobody knows what I do for a livg. I thk you n be better if someone who’s g to see you perform has no ia who you really are.”</p><p class="paywall">Given her height and her stature, McTeer isn’t a natural génue. “When I was young, I ed to thk, I’m jt too ugly to play those kd of rol,” she said. “I was credibly self-nsc about the way I looked.” The year she was fourteen, she grew seven ch and had to bandage her legs to ease the growg pas. “I was half an ch taller than the boy I liked. I remember I was dog my piano practice, and I started sobbg. My father uldn’t pe wh . He gave me a tot of whiskey and gger until my mother me home.” But the moment was a kd of emotnal watershed. “After that,” McTeer said, “I stood up tall, and I never slouched. It was a sort of act of fiance, really. And, when I went to llege, I realized that my height was an credible tool. I uld really e my body a way that I felt was theatril: you n stoop, you n be big, you n be galumphg, you n be neteen-thirti and elegant. You’re much more malleable.”</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">Over the years, McTeer has played a number of dynamic, willful, plited women. She was a towerg Beatrice to Mark Rylance’s dimutive Benedick “Much Ado About Nothg,” London 1993; a steely Mary Queen of Sts pted agast Harriet Walter’s Queen Elizabeth Schiller’s “Mary Stuart,” London 2005 and on Broadway 2009; a reimaged Nora Ibsen’s “A Doll’s Hoe,” London 1996 and New York the followg year— what Ben Brantley, of the <em>Tim,</em> lled “the sgle most pellg performance I have ever seen.” Onscreen, she has portrayed Va Sackville-Wt (“Portra of a Marriage,” 1990), Vansa Bell (“Carrgton,” 1995), Clemente Churchill (“Into the Storm,” 2009), and Mary McCarthy (“Hannah Arendt,” 2012).</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">She also has a good le genr-bendg. In the 2011 movie “Albert Nobbs,” she played Hubert, the swaggerg, cigarette-smokg bloke who ptur the heart of the eponymo Nobbs, a hotel butler Edwardian Ireland. Both characters turn out to be women disguise (Glenn Close plays Albert), and the revelatn of Hubert’s genr as a plete shock to the dience, as well as to Nobbs. Acrdg to Close, also me as a shock to her -star Brendan Gleon, who arrived for his first day of shootg on the movie, shortly after filmg “Into the Storm” wh McTeer, and didn’t regnize her at all. “He had no clue that was Ja,” Close said. “She thought was hilar.”</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="“It was worth wag four months for a rervatn.”" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“It was worth wag four months for a rervatn.”</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to rtoon</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in 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aria-hidn="te">Lk pied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-rt" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Shop</tle><g clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">McTeer is an admirer of Dmond Morris’s book “Manwatchg,” a soclogil study of human movement, gtur, and behavr, and she has bee an expert herself at that kd of observatn. To play Petch Phyllida Lloyd’s all-female “The Tamg of the Shrew,” Central Park this year—she portrayed him “like a bad old rocker, wh all that fun stuff you n have wh the shoulrs and the hips”—she trailed men om her New York gym. “Women’s center of gravy is their hips; men’s is their cht,” she told me, phg herself up om the table and stttg around wh a mascule posture. She went on, “Men don’t turn to the people they’re talkg to too often. If you’re a woman and you’re talkg to somebody, you tomatilly give them your space, particularly if you were brought up by the generatn I was. Whereas a guy, if he’s gonna talk, is gonna talk to you like this. He’s not gonna give you himself,” she said, facg off at an angle. “We’re all animals,” she add. “You jt have to look at Animal Pla, and you’ll see exactly the same thg.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">McTeer is the send dghter of Allan and Jean McTeer, a former Brish Rail employee and a retired policewoman. “They are both lightful, telligent people,” she said. “My mum was always the iendly, chatty one. He was very much a dad of his generatn, more terted when we uld have nversatn.” McTeer’s father had lost a siblg the Send World War. “They’d wnsed too much, too young,” she said, and, after the war—they married 1956—“their ia of a perfect life was lm and safety.”</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">McTeer ntued, “I was brought up like any good dghter of pre-neteen-sixti parents. You were expected to look after the men your life and know that your needs e last. Your job as a woman was to make everyone happy.” Her sister, Helen, who is five years olr, nformed more closely to the McTeers’ self-effacg domtic ial; she is now a mic teacher and the widowed mother of three adult children, to whom McTeer is voted. “My sister always wanted to have a fay. Be a mic teacher. She’s a big looker-after-er,” McTeer told me. “Whereas never occurred to me to want a fay life until I was, I don’t know, forty. I wanted excement and danger.” Her hankerg for adventure was due partly, she said, “to an extremely low boredom thrhold.” At one pot, McTeer’s parents spected that she had a hearg problem. “They sent me to have af tts. It was only when I had all the tts that they realized I jt wasn’t listeng,” she said. “I was off my own bubble.”</p><p class="paywall">On McTeer’s sixth birthday, the fay moved om Newstle, where she was born, to jt outsi the walled Roman cy of York. In her sporty fay—her parents, who are nety-one and eighty-four, still play golf—she beme a strong tennis player and swimmer, but her prcipal memori of childhood are of ridg her bike around the Yorkshire untrysi and of readg. “I uld disappear for hours to books,” she said. “I was always beg told off for readg wh my torch unr my bedcloth.” In adolcence, she was an Elvis fan. “I ed to wear very tight jeans and blue suè sho, when everyone else was wearg flowery drs,” she said. “It’s not that I was tryg to rebel agast tradn or suburbia or anythg like that. I jt didn’t que get . Conversatns I would want to have, the thgs that terted me, didn’t seem to be particularly normal.”</p><p class="paywall">By her teen-age years, McTeer was, her own words, “a gobby, opnated polil novice who spoke loudly of my beliefs wh ltle rpect for anyone else’s opn.” She relled an assembly at her school, Queen Anne’s Grammar School for Girls, at which a labor-unn lear was to speak. “The only qutn we weren’t allowed to ask was about the closed shop. Of urse, I stood up and said, ‘Expla to me the nature of the closed shop,’ ” McTeer told me. “I already knew what was. It jt annoyed me that somebody said I wasn’t allowed to.” Although her parents appreciated the vigor of her md—“That has been there all through her life; she’s able to see a rabow where there hasn’t been a storm,” her father said—McTeer, like many teen-agers, felt unheard and unseen, “the odd one out.”</p><p class="paywall">At sixteen, she and her girliends began hangg out at a ffee bar the York Theatre Royal “to flirt wh the boys, or not flirt—be elive and marvello.” Soon, McTeer got a job sellg ffee there on Saturdays, and she began to meet the actors. One day, she was allowed to see Oliver Goldsmh’s “She Stoops to Conquer.” “I remember, as the lights me up, gettg that ltle ld shiver,” she said. “I remember thkg, If I don’t have a go at that I’ll regret for the rt of my life.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="17spr4"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="qhwjxd"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">McTeer’s first dn, at London’s Webber Douglas Amy of Dramatic Art, was a fias. “I wore five-and-a-half-ch heels,” she said. “I played Juliet. Can you thk of a ls likely Juliet than me? I was so nervo I jt left.” She later returned to the dn, whout the sho. (She still wasn’t accepted.) Her English teachers helped her relibrate her dn material to better match her mcular personaly: Goneril stead of Juliet, and the triumphant monologue, at the fale of Arnold Wker’s “Roots,” which Beatie Bryant fds her own voice (“D’you hear that? . . . Did you listen to me? I’m talkg. I’m not quotg anymore. . . . I’m on my own two feet”). “That was perfect for me, bee that was how I felt when I was young,” McTeer said. “I didn’t know how to be me.”</p><p class="paywall">A few of the York repertory actors, Gary Oldman among them, suggted that she apply to <em class="small">RADA</em>. For her dn, she ed the “Roots” monologue. Afterward, one of the vigilators found her backstage. “Who helped you wh your speech?” he asked her. “I remember sayg, ‘Nobody. I did my bedroom,’ ” McTeer relled. “ ‘Y, but where have you . . . who helped you?’ I went, ‘No, no, no. I jt did by myself.’ ” She add, “I remember them sayg that my Shakpeare was dreadful. I had absolutely no skills or craft whatsoever, but this other monologue was really out there the bt kd of way.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">McTeer was accepted, but found bed-s life London lonely and alienatg. “I didn’t really f there,” she said. By her fifth term, she’d cid to drop out. Hugh Cttwell, <em class="small">RADA</em>’s prcipal, nvced her to stay, and, by the time she graduated, McTeer was the star of her class. “Ja was pure talent,” her first agent, Michael Foster, told me. He took her on after seeg her graduatg performance Maxim Gorky’s “Philist.” “She was streaks ahead of anybody I’d seen, and I’d been to all the drama-school shows.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">McTeer se actg as a form of jazz—a performance which each player mak new mic om a faiar tune. “I want to see <em>live</em> theatre,” she told me. “I want to not que know where ’s gog—so, when you see performers, you feel like they’re ventg as they go along, rather than dog somethg that’s polished.” Once, she sat the dience at what she scrib as a “ntrolled, grownup, well-prented play.” Afterward, a man ont of her turned to his pann and said, “Wasn’t that marvello! G and tonic?” she relled. “I thought, I never want to be that play, to do somethg easy that don’t challenge you. The ia of beg somethg petent—well, watch televisn.”</p><p class="paywall">She has fond memori of performg Yasma Reza’s “God of Carnage,” oppose Jeff Daniels, who would “jazz” wh her eight tim a week. One afternoon, early the n, she thought Daniels seemed tired. “I kd of hurled a le at him,” she said. “I screamed, ‘Could you jt get the ffee, please!’ And, that send, stead of gog, ‘All right, all right,’ he screamed, ‘All right! All right!’ And we were off. From then on, he would do the same to me—throw me somethg or make me lgh.” She add, “If you’re not surprisg yourself, how n you surprise them?”</p><p class="paywall">For the dience, and for the actrs herself, there is an element of mystery to McTeer’s actg. In her tuive, eewheelg exploratns, her body livers a kd of semaphore of ntradictory feelgs. “She n do two or three thgs at once,” Christopher Hampton, who worked wh McTeer on “God of Carnage” (which he translated om the French) and “L Liaisons Dangers,” said. “She n do somethg wh her ey that says she’s relishg this, somethg wh her voice that says she has rervatns, and somethg wh her body that tells you she really wish she wasn’t dog this.” While performg “A Doll’s Hoe,” McTeer said, “every sgle night I would get to the pot where I would take my rg off and give to Owen”—Owen Teale, who played Torvald—“and every night we’d be this big theatre, and the silence . . . I was afened by the noise of the silence. I would thk, I have no ia how we got here. Every sgle night I would thk the same thg. And yet, of urse, I do.”</p><p class="paywall">In 1997, embolned by the London succs of “A Doll’s Hoe,” McTeer took some meetgs Hollywood, but “ jt wasn’t me,” she said. “I thk I thought I wasn’t pretty enough to get anythg but the ‘iend’ role, and there was, nsequently, more tertg work at home.” Nohels, when “A Doll’s Hoe” transferred to Broadway, and Gav O’Connor, an aspirg actor-director, approached her wh “Tumbleweeds,” an unfanced, half-wrten mother-dghter road movie, she took a chance. McTeer—who summoned up an impecble Southern drawl to portray the vivac, reckls Mary Jo Walker, a serial marrier wh a taste for abive relatnships—earned both a Goln Globe and an Osr nomatn for her performance. Watchg McTeer “Tumbleweeds,” Stephen Holn wrote, the <em>Tim</em>, “you have the thrillg awarens of an actor meltg so eply to a role that what is on the screen is not a performance at all but a kd of spontaneo alchemy.”</p><p class="paywall">McTeer followed a hunch when she took on “Tumbleweeds.” Wh other projects, however, her first stct wasn’t always the right one. Her origal plan for “A Doll’s Hoe” was to direct the play, not star . “I nnot thk of an actrs ls likely to be termed ‘my ltle bird’ than me,” she told the producer, Thelma Holt, but Holt prevailed. (Anthony Page was the director.) When Phyllida Lloyd and McTeer ially discsed stagg “Mary Stuart,” McTeer was nvced that she should play Elizabeth. Lloyd suggted that she rethk. McTeer remembers tellg her, “In Act II, Mary out and she’s smellg the ros. Hontly, I would lgh myself off the stage. The only way that I would ever do that is if was a fuckg tornado, or absolutely pourg wh ra, and she’s the mud, and ’s jt sort of—<em>Waah!</em>—that visceral, marvello eedom that this person hasn’t had for twenty years.” Lloyd me back to her and said, “We’re gog to make ra.”</p><p class="paywall">In the play, Mary Queen of Sts is imprisoned by her Queen Elizabeth. In orr to argue for a reprieve, she mt re her vdictivens and her vany; Elizabeth, for her part, mt weigh the bonds of fay agast the reali of power. It’s a thrillg standoff. Mary stggl to nta her fury; Elizabeth his a vic heart behd her starchs. That atmosphere of feroc ntament was brilliantly evoked Lloyd’s stagg. At the begng of Act II, Mary enjoyed a moment of eedom the ra on the grounds of the stle where she was beg held. Courtiers swooped across the stage wh open umbrellas, like a flock of blackbirds; when they stopped and turned, the Queen was sudnly revealed among them, facg her prisoner. It was an exquise start to one of world theatre’s classic battl of w and will.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">In 2009, McTeer’s Amerin agent, Pl Marto, ved his Mae neighbor, Joseph Coleman, to one of the Broadway performanc of “Mary Stuart.” Coleman knew nothg of the play or of McTeer, but her effect on him was stantaneo. Afterward, he and Marto went backstage; Coleman, who was then forty-two, had never been backstage before. Bee of a mixup, he was shunted to the greenroom stead of to McTeer’s drsg room. “I was jt stg on the uch wag,” he said. “Que a long time had gone by, a lot of the actors had e and gone. The door opened, and me Ja. She ma this long arc around the room—and then, all of a sudn, she sat on a ffee table right ont of me and crossed her legs. She was wearg the long leather boots.” That night, Coleman wrote his journal, “She slips through air like a harbor seal an icy green sea.”</p><p class="paywall">“We rather thought that Ja was gog to be married to her reer forever,” her mother told me. So did McTeer. “I don’t thk I believed that you uld meet somebody who was your soul mate that you’d want to marry for the rt of your life,” she said. “Why uldn’t you jt be wh someone for the time you were allotted, the time that was fun, the time that was tertg?” But, after four dat wh Coleman, always the pany of others, McTeer rells thkg, “Wow, this is what they mean when they ll ‘fallg love.’ ” Tellg the story, McTeer extend her arms as if to keep herself om plummetg. “The only power I have is to put my hands out and stop , but the damage is already done. I jt knew he was the love of my life. And he is.”</p><p class="paywall">Bee Coleman, whom she dubbed “Farmer Joe”— the early days of their urtship, he sent her pictur of livtock and of the Mae landspe—is not the same profsn, McTeer said, “there’s no envy, no petn. There’s never any promise.” Once, early their relatnship, McTeer ved Coleman to her drsg room to watch her transform to Mary Stuart. As he sat on the uch, one of the actors burst to the room shoutg obsceni. Coleman, unaware that this was part of the actor’s regular vol warmup, threw a blanket over his head. “I felt embarrassed, like I shouldn’t be there,” he said. “I watched him through the hol scream and curse, poundg his cht, adjtg his hair.” Then the actor noticed Coleman, and said, “So sorry. I do this before every show. It brgs me luck,” and ran out. In “The Drsg Room,” a poem about this first enunter wh the ner workgs of McTeer’s craft, Coleman bears wns to her shape-shiftg om ordary cizen to extraordary performer:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>She throws her head</p><p>back and guzzl a Diet Coke, turns up the</p><p>volume on her stereo and curs, howls</p><p>sways her weight om one foot to the other</p><p>the room gettg smaller and smaller</p><p>and the air suffotg</p></div></blockquote></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="2v6sd8"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">The poem ends wh McTeer walkg out of the drsg room and to the zone of the play. In that moment of transn, Coleman realized that the person he knew was gone. “She didn’t even know I existed,” he said. Coleman, who was a safety on the Universy of Mae football team for four years, se McTeer as an athlete of the spir. “I have such an appreciatn for what she do,” he said. “I treat her like a prizefighter. Rub her down, make sure she’s fed, and jt stay out of her way.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">The first time I saw Coleman, he was a T-shirt and swimmg tnks, his angular face ma even more stere by his close-shaved head. (McTeer clips his hair once a week, wh dog shears.) He was loadg fishg tackle and sandwich to the twenty-two-foot Grady-Whe Overnighter the uple bought 2012.</p><p class="paywall">Coleman tght McTeer to fish. In the sprg, they go land for trout on the Kennebago. In the fall, if the weather’s right, they go thirty offshore to chase tuna. Durg the summer, they set out to sea almost every day, aimg for the mouth of the Harraseeket River, where all of Cas Bay sh the small entrance of the harbor. Big fish, seals, rmorants, gulls, and terns ngregate the tis, pluckg out herrg and mackerel as they move. “Ja handl the boat while I fish om the bow,” Coleman told me. “She knows where the fish hold and gets me to good posn. Then we swch.” McTeer once ught seven mackerel on one st—a fay rerd. “I love the excement of landg a fish,” she wrote an e-mail. “I <em>hate</em> killg a fish. I never do. I’m a hypocril fisherman.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-3 viewport-monor-anchor"></div><p class="paywall">The day we went out, they brought along Joseph, Jr., and their dog, Stella, both of whom mostly dozed the sha of the b while we fished the bright, stony shorele, sp-stg woon plugs long arcs toward the docks of the big ho. “First time I took her fishg, she ught a lobster!” Coleman said, watchg McTeer at work on the bow. “She’s the only person I know who ever ught a lobster wh a fishg pole.” The only thg we ught, however, was seaweed. We dawdled our way around the islands, fishg the shallows and the riffl, then shifted to a grane promontory on the other si of the ve. But the stripers weren’t bg.</p><p class="paywall">Coleman spotted a boat that he regnized g to the ve; belonged to his brother Tom, who pulled up alongsi . “I’m try’ to imprs this guy, but no fish,” Coleman said. “Got any beer?” I was seated at the stern, facg away om the other boat and toward McTeer and Coleman. Sudnly, Coleman lunged my directn. I felt somethg bsh my ear. He had tercepted a sixteen-ounce bottle of Budweiser g toward my head at a velocy that would have ncsed me. (“I played Divisn 1 football, but that was probably the greatt tch of my life,” Coleman said later, showg me the bise on his hand.) From the other boat, Tom lled out, “That’s my only beer, so I n’t h you aga.”</p><p class="paywall">The only fish I saw that weekend was the salmon McTeer grilled for lunch the next day her kchen. “Ja is a more throw-everythg--the-pot ok,” Coleman told me. “Improvis. Herbs flyg everywhere. Tast as she go. Whatever-is--the-icebox kda gal. I clean as I go. She don’t.”</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="The Dynamism of Ja McTeer" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div 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clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">At the table, McTeer and Coleman discsed their differenc. “Joe’s a hothead. If anythg bothers him, he’ll—<em>bam</em>, <em>bam</em>, <em>bam</em>—what’s up?” she said. “Whereas I need to thk about first. Joe would say that I have very th sk. It’s what mak me a good actrs: thgs bother me very eply. So if I’m bothered by somethg I’m never gonna ept—that’s not my way. I always feel that if I ept I’ll say (a) somethg that’s wrong, (b) somethg that’s hurtful, or (c) I might be the wrong, anyway. I will only show what I really feel when I want to.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">When I next saw McTeer, early September, she was on the fourth floor of a vast neon-l Forty-send Street rehearsal room, gettg ready for the day’s work on “L Liaisons Dangers,” Christopher Hampton’s masterly adaptatn of Pierre Chorlos Laclos’s 1782 epistolary novel, which mix eighteenth-century syntax wh morn vobulary. Josie Rourke, who directed “L Liaisons” at the Donmar Warehoe, London, last year, was remountg and reëxamg the show wh a st that was all new, wh the exceptn of McTeer.</p><p class="paywall">Behd a brown-staed plywood wall, a simulacm of an eighteenth-century drawg room, McTeer was beg strapped to a rset that f over her light-blue gown. “I want to absolutely not prepare,” she’d told me Mae, about workg wh the new st. “I don’t want to e knowg anythg other than the parameters, the boundari of what I know about the play. So we’re back to jazz.”</p><p class="paywall">Wh a cup of ffee her hand, she stro across the room to n l wh neteen-year-old Elena Kampouris, who has the role of the virgal Cecile, a pawn the game of sexual revenge that the Marquise Mertil (McTeer) plays wh her ex-lover the Vite Valmont (Liev Schreiber). “My ar, I really n’t help you unls you tell me what’s troublg you,” McTeer began, sippg her ffee. “I n’t, I jt n’t,” Kampouris said softly. “I thought . . . Ugh!” McTeer broke off and lled for her le. Then, workg her hands like a fencer wh an épée, she began aga: “I thought we’d agreed not to keep any secrets om each other.”</p><p class="paywall">Soon they started workg on the pivotal scene which Cecile nfs that she has been sced by Valmont, only to be exploed for a send time, by Madame Mertil. While Cecile and her attendants mimed her entrance, McTeer waed bi the makhift wall. Then she swooped to receive Cecile’s teary admissn of unhapps. Rourke stood to the si, watchg the choreography, clutchg a pencil her hand. As McTeer moved, her body—the tilt of her torso, the sudn acceleratn of her long stris, her angular gtur—rved out the space around her. She approached the distrght Kampouris and sat bi her, strokg the girl unr the ch. After a few more attempts at orchtratg the moment, McTeer said, “Let’s try this.” This time, she waed for the attendants to go through their mistratns before she entered, shoog away the last servant and then towerg over Cecile like a bird of prey (an image that is rerced, the productn, by the black feathered ul she wears her hair). The imper gture ma the meetg dynamic.</p><p class="paywall">“I thk the stg together—we n play wh that,” McTeer told Rourke. “Maybe there’s some fun to be had lyg down.” Kampouris lay down on the bench, and McTeer slid bi her, pettg her hair, makg the younger actrs seem even more dimutive and childlike. Rourke stopped the actn. “When she says, ‘I’m so unhappy,’ you uld really lose ,” she suggted to Kampouris, who then tried prostratg herself. Whout touchg her, McTeer plucked a handkerchief out of her bodice and gave to Kampouris to wipe her ey. The surprise of the handkerchief broke the spell. McTeer lghed, leang to Kampouris. “Somehow to get you prone—’s a good ia,” Rourke said.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-4 viewport-monor-anchor"></div><p class="paywall">McTeer’s challenge the New York productn, she said, is to explore “even more vulnerabily, even more sensualy, even more sexualy, to ph as far as you n.” The Marquise Mertil is a doyenne of duplicy, as lic as she is stctive. In this scene, McTeer was searchg for ways to balance the extrem of the Marquise’s villay wh her humany. “Tell me: you risted him, did you?” she asked. “Of urse I did, as much as I uld,” Kampouris blurted. “But he forced you?” McTeer untered, throwg the le over her shoulr as she toyed wh some playg rds on the adjacent table. Then she turned abptly and, wh her body tilted back, lnched herself siways toward Kampouris a whirlwd of vic vivacy. “He has a way of puttg thgs. You jt n’t thk of an answer,” Kampouris bleated. “Not even ‘No’?” McTeer said. She played adpan, but everyone the room was lghg.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="qc291t"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="nz43x"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">“Intuivens is a big part of Ja’s armory,” Hampton told me. “She did a number of thgs that nobody else had done the part. She is, of urse, formidable and strong. The unexpected thg is the jectn of vulnerabily.” A ht of that vulnerabily was layered to the face-off wh Cecile. As Kampouris whed about lovg a young man and beg forced to marry a rich old reprobate, McTeer circled her, sg ldly. “You n do , or not, wh as many men as you like, as often as you like, as many different ways as you like,” she unselled, liverg the le as if were a favor, and not a manipulatn. “Our sex has few enough advantag, you may as well make the most of those you have.” Wh her edgy shift of tone, McTeer nveyed a touch of vdictive triumph over the powerlsns that women endured eighteenth-century French society.</p><p class="paywall">“Ja feels a nnectn between fearlsns and great work,” Rourke said. “In the rehearsal room, performance, she driv herself to the edge of what ightens her, and jumps off.” Workg at that level of tensy requir rerv of energy, pecially a play like “L Liaisons Dangers,” which plac enormo mands on the actors’ verbal xtery and mental foc; sometim McTeer ph herself too far. “I hate beg tired for shows,” she told me. “I’m not one of life’s great sleepers. I work que hard at sleepg.” She believ, she add, that “you have to be fter than the play you’re dog.”</p><p class="paywall">McTeer follows a vigilant regimen. For a very physil show, like “The Tamg of the Shrew,” she spends the afternoon before an eveng performance at home. At three o’clock, she has a salad and perhaps do some readg. At four o’clock, g “my Pl McKenna hypnosis tape,” she said, she naps for half an hour, then for another half hour lifts weights and tak a hard sp on an exercise bike. After a shower, “I’d hum, get my voice started warmg up, and I’d bike to work,” she said. While playg Petch, she never looked the mirror, but for Mertil, she said, she’d “maybe put on a face mask, check my nails, bee I want her to have nice nails, nice moisturizer.” She explaed, “You’re as va as your character.” She also always listens to mic before a show: baroque for Mertil; for Petch, “anythg loud.”</p><p class="paywall">McTeer’s characters may change and her route may vary, but one part of her rual stays the same. Before every performance, pecially when she’s tired, on matée days, “jt for a send,” she peeks out at the dience, “to see people’s ey.” She tells herself, “That person wants to be moved, that person wants to be exced, that person is here to see a b of magic. All right, I n do this.” ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="wjd"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2016/10/24" data-reactroot="">October 24, 2016</a>, issue, wh the headle “Walkg Tall.”</footer></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/john-lahr">John Lahr</a> has wrten for The New Yorker sce 1991. 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jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 720w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 480w" siz="100vw"/><img alt="Jonah Hill on the Evolutn of His Career" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k summary-em__k--isCneVio">From makg prank telephone lls to workg wh Mart Srse, Jonah Hill scrib his experienc as an actor and celebry.</div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--article summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 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320w" siz="100vw"/><img alt="After Hamlet" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Onward and Upward wh the Arts</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href="/magaze/2008/05/05/after-hamlet" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">After Hamlet</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/magaze/2008/05/05/after-hamlet" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="After Hamlet" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">A Shakpearean maverick to Broadway.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Cynthia Zar</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--article summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm kdEfwY" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/magaze/2015/09/21/the-sphx-next-door-profil-john-lahr" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Sphx Next Door" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Profil</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href="/magaze/2015/09/21/the-sphx-next-door-profil-john-lahr" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Sphx Next Door</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/magaze/2015/09/21/the-sphx-next-door-profil-john-lahr" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" 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