>> HASKINS: Coming up on
"Theater Talk"...
>> RUFFALO: My agent called and
said, "Listen.
They're doing 'The Price.'
We don't think you should do it.
It's a revival."
You know, "You're not the lead."
>> RIEDEL: All the crap you get
from the agents.
>> RUFFALO: "It's an ensemble."
I was like...
>> DeVITO: "Give it to me."
>> RUFFALO: ..."sign me up."
>> HASKINS: "Theater Talk" is
made possible in part by
The Cuny TV Foundation.
♪♪
>> SOLOMON: The price of used
furniture is nothing more than
the viewpoint, and if wouldn't
understand the viewpoint,
it's impossible to understand
the price.
>> VICTOR: So what's the
viewpoint?
It's all worth nothing?
>> SOLOMON: That's what you
said.
I didn't say that.
>> HASKINS: From New York City,
this is "Theater Talk."
I'm Susan Haskins.
>> RIEDEL: And I'm
Michael Riedel of
the New York Post.
Now, Susan, there's a terrific
new production of
Arthur Miller's play "The Price"
at the American Airlines
Theatre.
You know, we often hear about
"Death of a Salesman" or
"The Crucible," but I urge you
to go see "The Price," a play
that's not done very often.
Very, very, very good play.
Directed by my old friend and
sparring partner Terry Kinney.
We'll get to that in a moment,
Terry.
Welcome back to "Theater Talk."
>> HASKINS: Still.
>> RIEDEL: [ Laughs ]
He won't let it go.
Starring Mark Ruffalo.
Fine actor.
Welcome to "Theater Talk."
And making his Broadway debut at
72, as he told me recently,
after all these years
knocking around this business,
Danny DeVito.
>> DeVITO: Nice to be here.
>> RIEDEL: Welcome back.
All right.
Before we get into "The Price,"
Mark was curious about this.
What did we fight over?
We had a fight over something,
and you came on the show.
>> KINNEY: I actually don't even
remember.
>> RIEDEL: I don't remember the
fight.
>> RUFFALO: Terry will never
forget.
>> HASKINS: Clearly, you said
some horrible thing.
>> RIEDEL: No, I di-- I don't...
>> KINNEY: No, I've been
vindicated since.
>> RIEDEL: [ Laughs ]
>> KINNEY: We were taking out
the intermission and all the
monologues in the play
"reasons to be pretty," and the
producers decided to shut down
for three days, and I said,
"Why? I'll just take them out."
But they did that.
In the Post was a story about
"trouble," trouble over it,
and so I was so angry.
The actors were demoralized by
the piece, so I called him up.
I walked outside into the street
and called him up and just
rained expletives.
>> RIEDEL: On my answer machine.
So, I go to my office.
>> DeVITO: Oh, on the answer--
>> RIEDEL: It was on the
answering machine.
Now I remember. It was like,
"This is Terry Kinney.
"You [shouting indistinctly]"
And like, "Whoa!"
And I thought, "Hey, actually,
I'll just transcribe this and
run it as my column.
>> KINNEY: Which he did.
>> DeVITO: You did?
With a lot of, like...thingies?
>> RUFFALO: If the New York Post
only did more reporting like
you.
>> RIEDEL: It was accurate.
It was accurate.
>> KINNEY: As a gift, my cast
read it, in unison, from the
stage to me one day.
[ Laughter ]
>> RIEDEL: Terry, what attracted
you to this play?
>> KINNEY: Oh, I loved this
play, you know, like, from
eighth grade.
I used to talk about this play
all the time while we were
reading in class
"Death of a Salesman" and
"The Crucible."
I would say, "Oh, you have to
read 'The Price.'
It's so great.
It's much more personal.
And people would, you know,
not really respond to that.
So I've carried it around for
about 10 years in New York
like a carpet sample
Willy Loman would have in his
trunk, you know.
>> RIEDEL: Trying to get
somebody to do "The Price"
with you.
>> KINNEY: People thought of it
as second-rate Miller.
And I just, you know, didn't,
so...
Todd felt the same way about it.
>> RIEDEL: And we should say,
Mark, you play a policeman,
nearing retirement?
>> Yes.
He's on the precipice of
the rest of his life.
>> RIEDEL: And he's come to
his father's -- the brownstone,
with the attic.
Father's died.
>> RUFFALO: That's right.
>> RIEDEL: And he wants to sell
all the furniture.
>> RUFFALO: Yeah, they're
tearing the building down,
and so it has to go, and his
wife would like a little piece
of the pie for their retirement.
>> HASKINS: 'Cause she doesn't
want that furniture.
>> RIEDEL: She wants the money.
But what's so interesting, I
think, about the play, though,
is the setup is, you have a
brother, and you have a
difficult relationship with
your brother, and there's a lot
of talk about the brother,
and we expect the brother is
going to come on, and instead,
Danny DeVito comes on as this
fascinating character.
>> DeVITO: Solomon.
>> RIEDEL: Who is an antiques
appraiser, dealer.
>> DeVITO: Been in the business
for 65 years and knows furniture
in and out.
He was 86 when he kind of packed
it in.
He's almost 90 now.
He's been sitting around for a
couple years, waiting for
whatever to happen, but it
hasn't.
He's still 100% really strong.
And the phone rings, and it
changes his life.
Again, the thing about Solomon
is he's always -- he really
believes that there are a lot of
bounces in life.
You know, you get knocked down,
and you can't let that stop you.
The idea is that, right at this
moment, what I discover
with these guys -- Solomon --
is that ball is just hitting
the -- he's bouncing up now.
So if you're on the downswing,
maybe for those couple of years,
he's just hit the pavement or
the floorboards, and he's
bouncing back.
That's where you guys pick up
the play.
>> HASKINS: And because Mark is
sort of --
Would you call yourself a
tragic hero?
>> RUFFALO: I'd like to.
>> KINNEY: [ Laughs ]
>> RIEDEL: Well, your
character's a little on the
downswing when this play starts.
>> RUFFALO: Yeah, and he's --
There's an interesting
relationship between where he
is.
My character doesn't know that
men can bounce, and he doesn't
know that he can bounce, and his
model, his father, didn't
bounce.
He broke.
>> HASKINS: And his brother
is...
>> RUFFALO: His brother's
just...
His brother took off.
He went to live his life and
left the broken pieces for
Victor to pick up.
>> HASKINS: I didn't relate to
his brother.
Fabulous performance by
Tony Shalhoub, but there's
nothing in that character that
I'm going, "Oh."
I mean, I understood what he was
saying, but your character, I
was...
>> DeVITO: Well, everybody in
the play has to pay a price.
That's the, I mean, big deal.
This is like Arthur saying,
I guess, you know, "Look around
you, because whatever you put
forth, something's gonna --
there's always a cause and
effect, and you have to pay
the price.
Whatever it is, we don't know.
So the idea is, do you settle
for things in life, or do you
go, "I'm gonna shake this off
and come back," or you just
become a defeatist and just go
down and let the thing take you
down into the abyss?
And Solomon basically --
Well, his name -- Solomon.
He's pretty wise. Been around.
90 years old.
Seen it all -- struggling
countries all over the world.
Fought. Almost was killed.
Totally smashed, but come back.
Always with that spirit of --
>> HASKINS: But he's also very
perceptive about people.
>> DeVITO: Absolutely.
Because this is, like, a young
man who is -- He's 50 years old.
He's not --
It's like, 50 is like --
He's a baby boy.
>> RIEDEL: 'Cause you're 90.
>> DeVITO: I'm 90. Yeah.
>> HASKINS: But he's in trouble,
and you see it.
>> DeVITO: Yeah. Absolutely.
But I'm also a furniture dealer
who wants to make money.
I mean, it's engrained in me,
you know.
>> RIEDEL: And I love --
It's like -- Arthur must've seen
vaudeville, because the
character is a vaudevillian.
>> KINNEY: Yes, absolutely.
I mean, he was really delighted
when he created the character of
Solomon because it was taking
him back to his youth and
watching Yiddish theater here on
Second Avenue.
And he created a character that
he's never put in any other
play, you know.
The kind of comedy he creates
is nearly vaudevillian.
>> HASKINS: Is eating the egg in
the script?
>> RIEDEL: Yes.
Well, we should say -- there's
an absolutely --
You got to see this play.
It is a showstopper.
Danny comes out as Solomon,
takes an egg out of his
briefcase, and starts eating it
and then spits.
I feel sorry for you, because
every night, you're being
sprayed.
>> RUFFALO: Showered with
Danny DeVito's...
>> DeVITO: As we've gone along,
now, with the previews and the
opening and everything, and
the audiences always inform you
so much about what's going on
onstage.
And we have agreed that there is
a kind of a yolk limit, so as
soon it gets to the point
where -- 'cause you could do
that all day.
>> RUFFALO: No, there have
been --
And he has.
>> DeVITO: And I have.
>> RUFFALO: We have had nights
where -- you talk about a
showstopper -- we literally had
to lift the curtain and drop the
curtain just for this bit.
>> DeVITO: You have to make a
deal with the first three rows
of the audience that you're
gonna do the dry cleaning,
because, you know, there's
gonna be pieces of egg.
>> RIEDEL: Every night, though,
egg in your --
>> RUFFALO: Every consonant.
There's a lot of consonants
in those sentences.
>> RIEDEL: But I love that
because we think of Arthur as
so -- and I knew him slightly,
you know -- the very serious
American playwright, and there's
a wonderful playful side to him.
>> RUFFALO: Well, the whole play
is infused with humor, in a way
that -- I mean, Arthur Miller,
he gets humor, and he knows how
to dish it.
You know, he does.
He uses Solomon -- as
George Bernard Shaw would say,
you got to get them laughing
long enough to get their mouths
open to shove the medicine down
their throat.
I always see that first-act bit
as Miller softening up his prey
for the kill, because what's
coming after that...
>> RIEDEL: The psychological
drama between the brothers...
>> RUFFALO: They're like, "We're
seeing a Miller comedy!
This is amazing!
We don't have to --
He's not asking us to question
capitalism.
He's not asking us to question
ourselves and our priorities as
Americans.
We're just having a kick here."
And then, boom!
>> KINNEY: I always tell my
friends who come to the show, at
intermission, they go, "Oh, it's
so buoyant."
I say, "Just wait."
A deep spiral...
>> DeVITO: Get over to the bar a
little bit and then come back
and talk to me.
>> RIEDEL: Although it's
extremely well-structured,
because, you know, you do get
into the heavy stuff, but just
when it gets almost too painful,
Solomon comes bounding back.
>> KINNEY: Interruptions are a
big part of the show.
Just before he's going to seal
the deal, the brother comes in,
and, you know, it starts there
and it keeps going.
So those interruptions are his
way of saying, you know, there's
a certain destiny in the way
it's unspooling here.
>> RIEDEL: Yeah. Yeah.
I wanted to talk to you guys
about your beginnings here in
the theater.
Now, Mark, you're from --
Where are you from?
>> RUFFALO: Kenosha, Wisconsin.
>> RIEDEL: Kenosha, Wisconsin.
>> RUFFALO: The great theater
town.
>> RIEDEL: Yeah, all the old
shows tried out there before
Broadway, right?
>> RUFFALO: That's where they
all started, yeah.
>> RIEDEL: What was that sort of
hooked you as a kid on theater?
Or maybe it was the movies.
I don't know.
>> RUFFALO: It was, honestly,
the Three Stooges and
Charlie Chaplin.
>> RIEDEL: Got that in common
with Danny.
He told me, when I talked to him
the other day, he loved
the Three Stooges.
>> RUFFALO: Yeah, so, we would
do all the Three Stooges bits.
>> DeVITO: We got 2/3 of
it covered here.
[ Laughter ]
>> RIEDEL: With Jessica Hecht,
right?
>> DeVITO: We'll add this one
over here.
Let's get a screwdriver, and...
"Wenk!"
>> RUFFALO: Nyuk nyuk nyuk!!
>> RIEDEL: So you guys would
re-enact --
>> RUFFALO: So that started it,
yeah.
Me and my brother and my sisters
would re-enact, you know --
"Slowly, I turned.
Step by step."
>> DeVITO: Oh, yeah --
"Niagara Falls."
>> RUFFALO: We did
"Niagara Falls."
>> DeVITO: That's a good one.
>> RUFFALO: Yeah, so it started
with that, and --
Well, I remember, I was little.
I was probably, like,
8 years old, and my
grandmother --
I was a night owl, she called
me, and she'd stay up at night,
and she'd smoke cigarettes and
watch old movies on
American Movie Classics
or one of those, you know.
And I remember one night, she
said, "There's a movie on
tonight.
Why don't you come down after
the other kids go to sleep?"
And I said, "Okay."
So I snuck down.
She's like, "It's a world
premiere of a famous movie."
And I came down, and I'm
watching this thing, and this
guy's electrifying.
[ As Marlon Brando ] "Where
are your fancy furs, Stella?"
[ Laughter ]
And I'm watching him, going,
"What is he doing?"
I didn't really -- Acting was,
like, a very abstract concept to
me.
But I was like, "What is he
doing?
I want to do that."
That's what I said to her.
And years later, I didn't even
know who it was.
Years later, I was in an acting
class, and everyone's talking
Marlon Brando this,
Marlon Brando that, and they're
like, "You don't know who
Marlon Brando is?"
I'm in my 20s now.
I was 18.
And I was like, "No."
My friend's like, "I'm gonna
show -- You don't know
'On the Waterfront'?
You don't know
'Streetcar Named Desire'?
You don't know this?"
I was like, "No, I've never seen
it."
He pops in "Streetcar Named
Desire," and I remember sitting
there watching it with my
grandmother, and I never knew
who he was, but as soon as it
came on, I was like...
>> RIEDEL: You were back in that
room with your grandmother.
>> RUFFALO: ..."This is it.
This is why I even am here, and
I didn't even know who the hell
this guy was.
>> DeVITO: [ As Brando ] I get
by with the kindness of
strangers.
[ Laughter ]
Solomon, you gonna take care of
him tonight?
>> RIEDEL: Terry, what was it
for you growing up?
>> KINNEY: Oh, well, I delivered
posters for the local movie
theater, so I got in free, and I
would have to climb a ladder.
It was like -- What is it?
What was the movie?
"Il Postino" or whatever it's
called.
I would sit up in the booth,
and --
>> HASKINS: Now, where was this?
>> KINNEY: In Lincoln, Illinois.
>> HASKINS: Ah.
>> KINNEY: I watched all the
adult movies -- "Who's Afraid of
Virginia Woolf?" and, you know,
"Toys in the Attic."
I remember that really messed
me up.
But I could tell what was good
acting, you know, et cetera.
And then, I didn't really follow
through.
A little bit of speech team,
and then I just tried out in
college because somebody dared
me to, for a tuition waiver,
and I made up a monologue, and I
claimed it was from
"The Zoo Story" by Albee.
So I started with, "The story
of Jerry and the dog," and
that's all I knew, and then I
just made up something, and
when I ran out of steam, I
kicked a chair, and I left,
and they said, "Young man, come
back.
Come back in here.
You have access to emotion that
we ha--"
You know, I was like...
>> RIEDEL: Oh, I know.
I still have the voicemail.
I know about your access to the
emotion.
Kicking the chair.
The temper was there from the
beginning.
>> KINNEY: Oh, my gosh.
>> HASKINS: And then you began
"Steppenwolf," did you not?
>> KINNEY: Well, yes.
During college, yeah, I met
Jeffrey Perry, and therefore,
Gary Sinise, after my sophomore
year, and we did a play in
Highland Park, Illinois, in a
church, and, you know, we just
vowed to come back after we
graduated.
That's how we started.
>> RIEDEL: Danny, I was
fascinated, when we were talking
in your dressing room the other
day.
You really were into
experimental theater when you
started, in the '60s and '70s
here.
I mean, you were hanging out
with Meredith Monk and you're
down at La MaMa.
That was the stuff that you
really liked.
>> DeVITO: Yeah, I really dug
all that Andrei Serban stuff --
you know, you go to a theater.
Like La MaMa.
You go to La MaMa, and they'd
be setting things on fire, and
it was, like, amazing.
And everybody's playing a drum,
and you're running around with
war paint, and it's like,
just ama-- working with all
kinds of...
I love that stuff, you know.
I really dug it.
And then, I was actually at
the Theater of Living Arts for
one musical, a Rosalyn Drexler
play called "The Line of Least
Existence."
And this was the first time I
worked with Judd.
He was playing a part.
I was a playing a dog.
I was playing a dog who was
having an affair with his wife.
I had great musical numbers.
Rosalyn's terrific.
And I had a collar, and I was,
you know, an upright dog.
Anyway...
But one night...
Two guys from The Mothers of
Invention were playing
the music.
Yeah, but really great.
Billy Mundi and Preston.
So, the idea is, one night, they
said a woman was coming in...
We all stayed in this house.
It was the '60s.
It was like, everybody chipped
in.
It was hippie stuff.
You know, we ate brown rice and
vegetables and this kind of
stuff.
It was like, "Meredith Monk is
coming."
I didn't know who Meredith Monk
was.
She came with a couple of people
in her troupe, and we were all
hanging around one night, and
she said, "Well, let's put this
thing together for Saturday
night."
It was an amazing dance piece
we did.
>> RIEDEL: I got to say --
You move very well.
He moves very well on the stage.
>> KINNEY: He does, doesn't he?
>> RIEDEL: Gracefully.
>> DeVITO: Thank you very much.
50 years of ballet.
>> RIEDEL: [ Laughing ] That'll
do it.
>> HASKINS: Why did you go to
New York in the first place?
>> DeVITO: My sister sent me
here to become a makeup artist.
I didn't have any designs on the
theater at all.
In fact, the only play I'd ever
seen was...
>> RIEDEL: "Mister Roberts."
>> DeVITO: ..."Mister Roberts,"
in a tent in New Jersey.
My father got tickets.
Anyway, bottom line is, I came
in to do something else totally,
and the only way I could do it
was to enroll in the American
Academy of Dramatic Arts,
because the woman who was
teaching the makeup course
worked there.
And then, I got hooked.
You know, you have a good
teacher, you start understanding
what it's all about.
Read my first play when I was,
like, 20.
18, 19, 20 years old.
You know, same kind of thing,
you know, where you didn't...
>> RUFFALO: Blue collar.
>> DeVITO: But very, very, very
interested in movies.
Every week, the movie changed in
Asbury.
I lived in Asbury Park.
And, you know, I'd go to --
We had five movie theaters in a
mile-square town.
It's a really amazing place.
So, you would get to see --
Like, for instance, I would
see --
The adult movies were at
the Lyric.
They were all condemned by the
chur-- I'm a Catholic.
I was raised with nuns and the
whole thing.
And, you know, you would go to
that movie first.
I loved Jerry Lewis.
I loved all the, you know,
Edward G. Robinson.
The first-run movies were coming
through the big theaters, but
the first thing I would go to
see is "I Am a Camera" or
something like that, you know
what I mean?
Yeah.
You know, like, "M."
You know, like, something --
F. Lang, or...
>> HASKINS: But you ended up
mostly in the movie business.
So what has lured you back to
Broadway?
Was it this project...
>> DeVITO: Good material.
Really good.
I mean, I work with a lot of
good writers.
"Taxi" was always great.
"Always Sunny" is wiggy and
crazy.
>> HASKINS: Oh, I love that.
>> DeVITO: Guys are, like,
really fun.
I've always had the good fortune
of that.
But to really get to work on
something like --
The first one was
"The Sunshine Boys."
That's Neil Simon, and I was
in London for --
>> HASKINS: You get to spit in
that, don't you?
>> DeVITO: I get to spit in
almost everything I do.
Okay, so, the idea is that --
>> RIEDEL: But you don't always
get to spit at Mark Ruffalo.
>> DeVITO: No, no, no.
>> RUFFALO: That's the reason he
did the play.
>> DeVITO: So, like, the idea is
basically material.
If you get something that's,
like, that or, you know,
Arthur Miller --
Blessed to be in this play.
And he called me about it.
>> RIEDEL: Why'd you think of
him?
>> KINNEY: Danny?
>> RIEDEL: Yeah.
>> KINNEY: Why wouldn't I?
I mean, he's one of my favorite
actors to begin with, and I
always saw -- I just him in the
role, and it took me a long
time to convince him.
It really took me a long time.
>> DeVITO: Yeah.
>> KINNEY: We met.
And then he'd say, "Let's meet
up again in a week or two."
And I would be like, "Ah, come
on!"
>> RIEDEL: Just say yes, please!
>> KINNEY: But it really was,
you know, four or five times
and 25 phone calls.
>> RUFFALO: You really made him
court you, didn't you?
>> KINNEY: Yeah, but it was
worth it because he made me
think about the play in a deep
way.
>> DeVITO: I kept trying to
figure out if I fit, you know,
in the whole scheme of things.
And after a few meetings with
Terry and a dozen phone calls
and e-mails and stuff -- yeah.
>> RIEDEL: And did you leap at
the chance, Mark, or did you
have to be courted, as well?
>> RUFFALO: We had a very
limited courting period.
It was much more of a modern
relationship that way.
We sort of slept together
and then got to know each other
afterward.
It was, like, three days, or...
>> KINNEY: I mean, it just
happened suddenly that Mark was
available, and...
>> RUFFALO: It was amazing.
>> KINNEY: ...and we talked for
a few minutes on the phone when
he said he would do it,
but he had to go --
You said, "I've got to go to a
doctor, so you can tell
everybody," and I didn't.
I sat down at the table trying
to figure out if I actually...
>> RUFFALO: Well, I had till
12:00 noon on that day.
>> KINNEY: He had till 12:00
noon, and he called me at 11:57,
from a subway.
>> RUFFALO: And I was like,
"Terry, I've decided I'm gonna
do this.
You can tell everyone so they
don't pull the offer.
>> DeVITO: Well, he came in, and
he Hail Mary'd us.
>> KINNEY: We were ready to...
>> DeVITO: We were ready to...
>> KINNEY: Not gonna be able to
do the...
>> HASKINS: It was already cast,
and then someone went out.
>> RIEDEL: Oh, I forgot.
That's right.
Somebody dropped out.
>> KINNEY: But the funny thing
is that, I mean, in truth, a
year before that, I had asked
Mark to do it.
And he couldn't do it, so it was
really nice to --
>> RUFFALO: But I knew Terry,
too, and I know his work, and
I've always been a fan of his,
so it wasn't hard for me.
I mean, Arthur Miller, Terry,
Danny DeVito, Jessica Hecht,
and Tony Shalhoub.
>> RIEDEL: Pretty good reasons
to do the play, I got to say.
>> RUFFALO: But the funny thing
was, I was with a friend of
mine, and she said, "What would
y--"
And I got the call that the
movie was getting pushed for
four months.
I was actually preparing for the
movie with my friend.
She's a coach.
Greta Seacat.
And she said, "Well, what would
you like to do now?"
I was like, "Honestly"...
'Cause there was a movie that I
have been trying to direct, that
I could've shot in this period
of time.
She was like, "Do you want to do
the movie?"
I was like, "No, it's too
rushed."
I was like, "Honestly, all I
want to do right now is be in
a play on a stage in New York
with great actors, great
writing, and people I love,
where it's not on my shoulders,
where it's a true ensemble, and
it's just a play.
It's not a high-concept piece.
It's just actors doing what they
do on a stage.
And at 10:00 the next morning,
my agent called and said,
"Listen.
They're doing 'The Price.'
We don't think you should do it.
It's a revival."
You know, "You're not the lead."
>> RIEDEL: All the crap you get
from the agents.
>> RUFFALO: "It's an ensemble."
I was like...
>> DeVITO: "Give it to me."
>> RUFFALO: ..."Sign me up."
>> HASKINS: One last quick
question.
Do you think that "The Price" is
more relevant to our current
times?
>> KINNEY: It's very salient
now.
I mean, obviously, I think it
always was, because, you know,
Miller just has real situations,
and so we got to read our own
lives and catharses onto it,
but 1968?
This was a time that matches
this almost perfectly.
>> RIEDEL: Susan asks the
serious questions, but I like
the fun questions.
Richard Griffiths was a great
friend of ours on this show.
He was on a number of times.
And I know you got to be very
friendly with him.
>> DeVITO: We became really
friendly, yes.
>> RIEDEL: And I get a sense,
hanging out with you backstage,
it's fun there because you are
continuing the tradition of the
Richard Griffiths memorial
drink that everybody --
Tell us what that concoction is.
>> DeVITO: Well, the thing is,
it's gin.
So, Richard, every night, when
we finished the play --
>> HASKINS: At least you
finished it.
>> DeVITO: We got through the
play, yes.
Every night, I'd go visit him in
his dressing room.
People would come visit.
He had the dressing room that
was the closest, the most
convenient.
Anyway, it was also the most
stocked.
He had bottles of gin, limes,
big bags of limes, and a juicer.
Which, I have the memorial
juicer in my, um --
Rest his soul.
I loved him so much.
We had such a great time.
We worked -- One quick story.
We worked in the Savoy Theatre.
And the Savoy Theatre's built on
the Embankment, they call it.
It's 70 steps from the stage
door to the stage.
And that's where all the
dressing rooms are, down by the
stage.
So eight times a week, if you
wanted to go out after the
matinee, you'd walk up and down
70 steps.
So Richard and I used to do
it -- it was a comedy routine --
backwards, go down backwards.
The two of us going down
backwards, taking turns, and...
You know, many, many fart jokes,
you know what I'm saying?
Like, "Who's going first?"
"How you feel?"
"What'd you eat for dinner?"
You know, this kind of thing.
"I'll go first."
"Okay."
[ Laughter ]
But every night, it was gin and
lime and a lot of ice, shake it
up, and pour it in martini
glasses.
>> RUFFALO: It's a gin
margarita.
>> HASKINS: You did eight
performances a week?
>> DeVITO: Eight a week.
>> HASKINS: Well, my hat's off
to you.
>> DeVITO: Well, he didn't drink
after every one.
I mean, well --
Yeah. Yeah.
Not the matinees.
[ Laughter ]
>> RIEDEL: Have you had this --
>> DeVITO: No, we're gonna --
They've come in for little
schnappses and stuff like, you
know, a scotch, a this.
This one here doesn't drink.
He's eating tofu all the time.
He's like, you know.
The thing is that, you know,
I've got to really -- Now that
we're open and everything is
cool.
We're going along.
I'll get them pasted on this
Richard Griffiths drink.
>> RIEDEL: I have a feeling your
dressing room will be like
Robert Preston's was.
It was the bar that everybody --
>> RUFFALO: Oh, it's the best
dress-- He's got it so styling,
man.
It is amazing.
>> KINNEY: When I want to speak
to Mark, I have to climb
Mount Vesuvius to get to him.
He's on top.
>> RUFFALO: That's the only
exercise I'm getting now.
>> RIEDEL: All right, guys.
Fine revival of "The Price" at
the American Airlines Theatre,
directed by Terry Kinney and
starring Mark Ruffalo and
Danny DeVito.
Thanks a lot for being our
guests here on "Theater Talk."
>> RUFFALO: Thanks.
>> SOLOMON: What is the key word
today?
"Disposable."
The more you can throw it away,
the more it's beautiful.
The car, the furniture, the
wife, the children --
everything's got to be
disposable.
Because, you see, the main thing
today is...shopping.
Years ago, a man was unhappy,
didn't know what to do with
himself.
He'd go to church, start a
revolution -- something.
Today, unhappy, you can't figure
it out?
What's the salvation?
Go shopping.
♪♪
>> HASKINS: Our thanks to the
friends of "Theater Talk" for
their significant contribution
to this production.
"Theater Talk" is made possible
in part by...
The Frederick Loewe Foundation.
The Cory & Bob Donnalley
Charitable Fund.
The Noel Coward Foundation.
Cary J. Frieze.
The Dorothy Strelsin Foundation.
And The New York City Department
of Cultural Affairs.
>> NARRATOR: We welcome your
questions or comments for
"Theater Talk."
Thank you.
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