>> HASKINS: Coming up on
"Theater Talk"...
>> LEIGHT: There's a difference
in your therapeutic styles,
I think.
>> ELLIOTT: Totally.
That's what I love.
>> LEIGHT: How does that
take shape?
>> HARRIS: I don't know, man.
>> ELLIOTT: It's good, though,
right?
>> HARRIS: How would you
describe the difference?
>> LEIGHT: No, I was going to
ask you.
I mean, I have my ideas,
but I'm not playing them.
♪♪
♪♪
♪♪
>> DR. MICHAELS: There's certain
aspects to our current
arrangement that are not
acceptable, Marci.
I mean, although our net-income
procession is slightly higher
with CCI than our previous
situation, it has come
at the cost of extremely
time-consuming, redundant
paperwork, telephone time
on hold, telephone tag,
requests for authorization,
lost-in-the-mail excuses,
verbal authorizations that
are given, but not backed up
in writing, along with
authorizations for treatment
that are rejected on the most
petty grounds so that our entire
endeavor is beginning to --
>> MARCI: I'm sorry.
Could you clarify what you mean
by that?
>> DR. MICHAELS: By what?
>> MARCI: "Petty."
>> DR. MICHAELS: Could I clarify
it?
The word, you mean.
>> MARCI: I know what the word
means.
I'd like you to clarify
your precise use of it
in regards to us.
>> HASKINS: From New York City,
this is "Theater Talk."
I'm Susan Haskins, and I am
delighted to be joined
by my guest cohost,
Tony Award-winning playwright
Warren Leight.
Warren, we are going to talk
about a wonderful new play
that is being presented
by The New Group --
"Good for Otto," which is
written by playwright
David Rabe, joining us,
produced and directed
by Scott Elliott, and it
features, in a huge ensemble
cast, Ed Harris and Amy Madigan
playing psychiatrists
at the center of this whole
world that you have created
in this epic play, David.
Tell us a little bit about
what it is you've written.
>> RABE: I live up in Lakeville,
Connecticut, and there was
a center there, and I did
a fundraiser for it many, many
years ago, and in the process,
got to know the guy who ran it,
Richard O'Connor, and, also,
I did a kind of dramatic version
of some of the --
It's like all the seats --
not all the characters,
but a number of the characters,
and the title is the same,
actually, and so that's where
it started.
So it's a center in
the Berkshires where people
come and go.
It's not an in-patient place.
It's not any kind of asylum.
They just come and go in need
for care.
>> HASKINS: And you have --
Ed plays the guy who --
You run the center,
your character?
>> HARRIS: I'm
the Chief Administrator.
>> HASKINS: The Chief
Administrator, and --
>> HARRIS: And counselor.
We're psychologists, I would
say, not psychiatrists.
>> HASKINS: Okay. My mistake.
>> HARRIS: No problem.
>> HASKINS: But you in your
role, taking care of wounded
people, are tormented, and
this is -- It would seem to me.
>> HARRIS: Well, I have a bit
of a problem with my dead
mother, yeah.
>> HASKINS: Yeah, yes --
who's in it, as well.
How many actors are in this
play?
>> ELLIOTT: 14.
>> HASKINS: 14.
And one of them --
spoiler alert --
is your dead mother, but I
thought -- and this is why
I reached out to Warren.
I thought it was so interesting
that you were dealing with
the problems of being
the caretaker for people
with emotional illness,
and you wrote a whole television
series -- "In Treatment" --
about the problems of
a caretaker of the emotionally
ill.
>> LEIGHT: One of the things
I was very impressed by
in performance and in writing
was a lot of us have been
in therapy, a lot of us know
people who need to be in
therapy, but it's very hard
to get into the head
of the psychiatrist
as a writer because that person
usually sits across from you,
and you don't know what that
person is thinking or feeling
by design, by the design
of the process, and I thought
you did -- both of you --
an exceptional -- and, actually,
you, as well.
I understood
the psychiatrists' --
or the psychologists' point
of view very clearly, and
I assumed you had spent time
talking to these guys
and knowing how they work.
>> RABE: Yeah, a little,
and I've had my own experience,
but on the other side,
of course.
>> LEIGHT: Yeah.
>> RABE: But the guy who ran
the center -- Dick O'Connor
is his name -- had written
a book, and in the book,
he spoke about his mother
killing herself, and so
even though that wasn't part
of the fundraiser when I did
the thing, it was what always
remained with me when I would
think about, I'm going to make
it into a full -- or what I
would call a real play to
exploit the whole dynamic,
that I knew I had a way into
the inner life of, uh --
>> LEIGHT: There were also
moments where your character
was -- and this is always --
When I started to do
"In Treatment," I asked
psychiatrists, "How soon into
therapy do you know what
the deal is with the pa--",
and they all said,
"Pretty fast," and the struggle
is how to get the patient
to understand what the deal is.
Your character jumps to some
quick conclusions in the second
act about a patient and how much
of what this patient is saying
is real and how much is fantasy.
I liked that depiction very
much, and the need to build
a bridge to the patient
is important, but then to have
that distance.
>> MADIGAN: Very much so.
There's a character, a young man
that I deal with.
>> ALEX: I envy everybody who
has someone in their lives.
I-I see people on the street
walking together, and I hate
them.
Is that weird?
Do you feel that way ever?
>> EVANGELINE: It doesn't matter
how I feel, but how you feel,
Alex.
>> ALEX: Yeah.
Well, that's how I feel.
>> MADIGAN: And then Ed and I
actually talk about Dr. Michaels
and myself, Evangeline,
kind of commiserate, and I say,
"Well, I think he's doing this,"
and Ed's character will say,
"Well, do you think maybe this
is going to happen?"
So you kind of get a little bit
of how they're thinking,
and then you see me in the next
therapy session with him.
>> I love scenes between two
therapists because they're --
[ Laughter ]
Can you talk a little bit
about how you approached those?
>> RABE: Well, that one --
the one Amy just described --
I -- Again, I was trying
to develop a sense of their
relationship sort of backstage
so to speak, and I wanted to
hit on what I think is an
issue -- current kind of issue
with psychiatrists is how much
of yourself you bring to it,
make available.
You know, you always bring
yourself, I assume, but how much
do you allow to actually
experience and how much
do you chase away?
And so I wanted to work that
in there, and then when I wrote
the scenes with the patients,
I would just try to leave
a space for them, and I give
them great credit -- and Scott's
work with them -- for --
'Cause I don't feel I did all
that much from their end
when in the actual sessions
just other than allowing
the correct space, and then
in the end, there's a couple
of scenes about their
relationship.
>> HASKINS: So, Scott Elliott,
you're the Director.
How was -- What was Ed Harris
taking -- the process?
>> ELLIOTT: Well, I think that
what David means is that maybe
on the page, those characters
are not as developed
as the patients who come
to the center.
I mean, you get a lot of Ed's
background, you know, because
his dead mother, as we revealed,
is in the play.
So that's there to develop him,
but Amy, her character's
a mystery.
You know, you get to know her
a bit in the end...
>> LEIGHT: Yeah.
>> ELLIOTT: ...in the very last
scene, which I think is one
of the most clever, clever
things about the play is
that you have this woman,
and Amy's portrayal --
Like, we talked, like Amy says,
very much about active listening
and what does that really mean
and how can you sort of --
you know, how excited can
a therapist get when a patient
is having a breakthrough
or how much a therapist
has to withhold in order
to get what they want.
But in the case of their
dynamic, there's not that much
stage time given to the two
of them together, and I think
that we've hit upon --
Well, of course they're married,
which is a lovely thing to have,
also, because they already have
wonderful chemistry, and we've
done -- You know, we've worked
on three shows already together,
and so their chemistry is always
palpable from the stage,
and I thought it would be fun
to sort of exploit that in
a way where they're playing
coworkers and not people
who are married, but people
who are linked very deeply
by the people they love.
>> LEIGHT: And by the intimacy
of the work the therapists do.
Ed's mentioned a couple of times
in the play how remarkable
what happens in a room with just
two people can be, and you
made --
Someone -- I don't know who --
makes an interesting choice
of having the other patients
and even members of the audience
onstage --
>> MADIGAN: The whole time.
>> LEIGHT: ...the whole time,
witnessing these normally very
private, intimate moments.
Where does that come from?
Was it Amy's idea?
[ Laughter ]
>> ELLIOTT: I think I came up
with that, but that was
something that appealed --
The minute I read the play,
I thought that --
Well, first of all,
I was struck --
It seemed to me like a very
sort of contemporary and
slightly demented "Our Town."
I actually think the fact
that a lot of the actors
in the play are known
from other places,
it gives people a little bit
of a more in to them.
It makes people a little bit
more open to, like,
the complexities of the play
'cause it's a very complex play.
>> HASKINS: Yes, we see back
there many a known face.
>> ELLIOTT: That's right.
>> HASKINS: That's right.
And people said to me,
"Oh, and that person's in that?
And that person?"
"Everybody's in it,"
someone said.
>> ELLIOTT: Well, I think, like,
that was a conscious decision
because I thought that it would
really make people sort of
be able to sort of let other
stuff go in order to be able
to understand what the people
are doing, and then I thought,
"Well, wouldn't it be
interesting to make just
regular, everyday people
a part of the scenery?"
Because that's the scenery
of the center, and so by
combining it, I thought --
I mean, I don't know.
I get off on sort of watching
the waiting-room scenes
and seeing all those people
sitting there, and, you know,
for me, the imagery is potent.
>> HASKINS: Is that easier
or harder to have your whole
cast around you rather than
you're left to the stage
and have the people onstage?
>> HARRIS: I enjoy the fact
that, first of all, most of
my patients are there for most
of the play, or our patients.
>> MADIGAN: Mm-hmm.
>> HARRIS: And you feel that
sense of responsibility
to them 'cause they're there
in a sense -- you know,
even if you're not dealing
with anyone in particular.
So I like it.
I think it's good.
I mean, the fact that
the audience is in the back --
is also there, some of
the audience...
>> HASKINS: Yes.
>> HARRIS: ...is a little odd
at times, but I'm getting used
to it, and my idea was that
the show could be mannequins --
you know, just like fake people,
but...
[ Laughter ]
>> HASKINS: Easier to handle.
>> HARRIS: Yeah.
>> ELLIOTT: One of my favorite
parts of the play, though,
when I watch it is when
everybody walks on at the same
time -- the audience and
the actors sort of make
the entrance at the same time
at the very beginning.
You're like, "What's going on?
Oh, wait a minute.
There's so-and-so."
>> HARRIS: Oh, I think it's
a great idea, and it's working.
>> ELLIOTT: I love that part
of it.
>> HASKINS: One of the people
is Rhea Perlman, who's,
of course, known to everyone,
and yet I thought she was
just a real person walking in
with the audience 'cause she's
not in makeup, and that's --
It's an interesting combination
of faces, and I did not notice
F. Murray Abraham sitting back
there, and he's in a bathrobe,
of all things.
>> MADIGAN: Did you think
someone was just in their robe?
>> HASKINS: I didn't quite pick
up on him, and then there's
a wonderful actor who doesn't
say a word until
the second act --
>> MADIGAN: That's right.
>> ELLIOTT: Maulik Pancholy,
yeah.
>> HASKINS: ...and he's
fantastic.
Now, David Rabe, I wanted to
ask you.
F. Murray Abraham plays
a character who's 77 years old,
and he's expressing --
>> RABE: Yes.
[ Both laugh ]
>> HASKINS: And I'm not outing
your age, but --
>> RABE: Where are we going?
[ Laughter ]
>> HASKINS: But he was
expressing the issues of a man
in his 70s, which I thought
were very poignant and powerful.
>> BARNARD: My wife screamed --
she screamed about something
awful, something hideous
on the rug, which was,
of course, the spilled drink.
"It's just a spilled drink,"
I said.
"What spilled drink?!,"
she wanted to know.
It was a natural enough
question, but it seemed
unnecessary.
What did it matter
what spilled drink?
Considering everything going on
in the world at that moment,
what did it matter?!
I didn't answer.
>> HASKINS: Do you, as
a playwright, use certain
characters as a sounding board
for your own feelings?
>> RABE: Yes. [ Laughs ]
[ Laughter ]
Yes.
And he is one, along with
Timothy.
I feel a strong identification
with Timothy.
>> HASKINS: Well, that character
is on the spectrum.
>> TIMOTHY: You're not my
friend.
You're my therapist.
And I want a girlfriend.
>> HASKINS: Isn't that how
we're gonna put it?
>> RABE: Yes.
>> MADIGAN: Mm-hmm.
>> ELLIOTT: And also dealing
with getting older.
>> HASKINS: This is a script
that actors would very much
want to do, but yet I see
you have all these people.
I can't imagine the pay scale
is ginormous, and --
>> ELLIOTT: How dare you, Susan.
>> HASKINS: [ Laughs ]
>> ELLIOTT: We've been around
now, The New Group, a little
over 20 years, and we like
our artists, and we always want
people to come back and work
with us, and, you know,
we consider our group a little
family, and whenever we're
casting something, we always
look at people that are in our
family, and then when we don't
have somebody to fulfill it,
we look outward and expand our
family, and in the case of this
play, it's sort of half and
half.
>> HASKINS: Oh, it is?
>> ELLIOTT: Oh, yeah.
I've worked with a lot of people
in this play before -- yeah,
and then some are brand-new.
But I've worked with these
two...
>> HASKINS: Yes, yes.
>> ELLIOTT: ...and F. Murray
and Maulik -- you know, a lot
of the people -- Laura Esterman,
Kenny Mellman.
>> LEIGHT: Speaking of
Kenny Mellman, that's the piano
player, among other things.
♪♪
Obviously there's another
Broadway play right now
about music and depression,
and I liked the use of music
in this play enormously
and found it -- I wondered
how it got woven in
and what you've thought
about music and depression
and that sort of thing.
>> RABE: It has something to do
with my mom's family
and the way, when I was a kid,
they'd all get together
and sing and play all these
instruments, and somewhere
in the background, I know that's
a big part of this --
where it came from.
It also comes from, again,
Richard O'Connor, the guy that
wrote the book.
He does have a group.
They do go.
When I wrote this, he said,
"I've never thought about
my patients doing it,"
but he does have a group
that he goes to and sings,
and when I learned that --
'Cause I had the play,
we didn't have the music,
and I thought, "This is tough,
this play," you know, and then
I came up with that idea
and integrated it, and then
Scott is into the concept
of the play in these set pieces,
but then Scott has taken it
to a whole other level
with Kenny and Kenny's gorgeous
score, kind of, that he does.
>> LEIGHT: There's even
a moment or two, I think,
where several of the patients
have rhythm instruments or --
>> RABE: Yeah.
That's all Scott taking the idea
to another whole level.
>> ELLIOTT: It's called being
inspired by your work.
That's what I did.
I was inspired by it, and,
you know, I love the idea
of just music as therapy
and art as therapy,
and Kenny -- you know,
he's Herb of Kiki and Herb,
and I worked with them
a few years ago, and I thought
that Kenny would be a really
great person to sort of have
on the stage all the time
and be in charge of all of that
sort of thing.
>> LEIGHT: He's your stageman.
>> ELLIOTT: In a way.
>> MADIGAN: Yes.
>> ELLIOTT: In a way, and
I thought that he -- you know,
his sort of warmth -- 'cause
he brings a lot of warmth
to the proceedings -- would
really sort of, you know,
go another level to sort of
warm the thing up, and, yeah,
and I just decided to use music
as part of the thing, and, also,
you probably didn't notice,
but theater geeks like me
think about this, but there's
no technical sounds.
All the sound is just on
the stage.
Everybody's making sounds.
It's all music-based.
There's very little --
There's no sound effects
in the play.
It's all organic and --
>> LEIGHT: Diegetic.
>> ELLIOTT: Right, exactly.
[ Chuckles ]
>> HASKINS: So, Ed Harris,
my producer just reminded me
that you played another
dead-mother play with "Oedipus."
>> HARRIS: Ah, yes.
>> HASKINS: [ Laughs ]
>> HARRIS: She was in a casket,
however.
>> HASKINS: "Oedipus Rex."
>> HARRIS: Yeah.
>> HASKINS: Did you draw any
correlations there?
>> HARRIS: Absolutely not.
>> HASKINS: "Absolutely not."
All right.
>> LEIGHT: Well, what's lovely
about this dead mother is she
died when she was --
We see her.
She's a ghost that haunts
your --
>> HARRIS: She committed suicide
when I was 9.
>> LEIGHT: Nine, and so she's
a young, seemingly vital woman
who is, in some ways in
the play, trying to drag people
to the dark side with her.
>> HARRIS: Basically, yeah.
>> HASKINS: Where does that come
from?
>> RABE: [ Laughs ]
[ Laughter ]
>> MADIGAN: Oops.
>> RABE: I think that might
be my answer.
>> ELLIOTT: That would take
another hour.
>> RABE: Yeah.
>> HASKINS: All right.
>> RABE: Everybody -- you know.
If you want to know, everybody.
That's a common experience --
not necessarily a mother,
but the dark side is present.
>> ELLIOTT: Maybe our mothers?
>> HASKINS: I'm kidding.
My mother's still alive.
>> ELLIOTT: You're lucky.
>> HASKINS: Yes, I am, so...
All right, well --
>> LEIGHT: Mine was a little
complicated.
[ Laughter ]
>> ELLIOTT: The play has very
much to do with mothers
and things like that.
>> LEIGHT: Therapists, in some
ways, are surrogate parents.
They re-parent you because
things were missing growing up,
and even though you're not drawn
as a couple -- Do you feel
that you're a couple onstage
or in it together in this
little...?
>> HARRIS: I feel we're
in the work together.
I don't feel that, as
characters, we're -- you know.
We don't really know each other
that well, you know.
And then we're both very
private, solitary people,
you know.
>> MADIGAN: We think, we work.
That's kind of like how these
people are molded, but they love
this center and they love these
patients.
>> HARRIS: It's not like we
socialize a lot --
the characters.
>> LEIGHT: Just the one great
scene.
>> EVANGELINE: So I need to be
alert, but be patient --
be and not be, be what he needs,
but not too much.
>> DR. MICHAELS: [ Laughs ]
>> EVANGELINE: That's a piece
of cake.
>> DR. MICHAELS: [ Chuckling ]
Yeah.
>> EVANGELINE: [ Laughs ]
>> DR. MICHAELS: I'm trying
to white-knuckle it myself.
>> HASKINS: Well, there's an
aspect of your play you haven't
brought up that Nancy Giles
is the representative
of the healthcare system,
and you certainly are hitting
a very profound point.
>> MARCI: Well, I'm certain
I would find that helpful,
if it wouldn't be too much
trouble.
>> DR. MICHAELS: Oh, no, no, no.
Not at all.
>> HASKINS: Was that in the play
from the start?
>> RABE: Uh-huh.
That scene was always there
one way or another.
I developed it a little bit
when I did a play in Chicago,
and then much again with
a really, I think, significant
and good addition working
with Ed and Scott on this,
but it's basically the same,
basically the kind of linguistic
trap and kind of
"Who's on First?"
that they put you in.
>> HASKINS: It frighteningly
reflects reality.
>> ELLIOTT: Everybody mentions
that scene.
>> HASKINS: Yes.
>> ELLIOTT: I think everybody,
all of us -- you know,
everybody, all walks of life
have that fear and those
feelings about the healthcare
system here.
>> LEIGHT: This is just to be
clear, this is the idea that
you may be in desperate need
of help, and you have eight
sessions as a professional
to bring somebody out of
the worst crisis of their life,
and then their health insurance
covers no more of it is the --
>> RABE: Yeah, and/or if you
want to get them hospitalized
for a brief period of time
because they're at risk to
themselves, you know, maybe
you can, maybe you can't,
depending on whether
the insurance company decides
it's justified.
That's sort of the key event,
and the other stuff is kind of
part of what's the general
background of the situation.
>> HASKINS: Well, then as much
as you care, you cannot buck
that system.
>> HARRIS: Well, the -- yeah.
I mean, Rileigh McDonald,
who plays the young girl
who's having some serious
problems, and her foster mother,
that Rhea Perlman's playing,
I have quite a few scenes
with them, and it's very
frustrating -- not just
the scenes, but the actual
events in the story.
You're powerless.
I mean, whether it's
Protective Services or
the court system or, you know,
the state restricting
mental-health funding,
I mean, it's been nine weeks
since this thing has been
established with trying to get
her away from her real mother
and adopted by this foster
mother, and it's incredibly
frustrating.
>> HASKINS: Was it difficult
to organize the scenes?
'Cause you're dealing with
how many different stories?
>> HARRIS: I think there are 37
different --
>> HASKINS: Something like that.
[ Laughs ]
>> HARRIS: ...little, you know,
"scenes" in two acts.
>> HASKINS: Right. Right.
>> RABE: Once they found
the order, the order stayed.
>> HASKINS: Yeah.
>> RABE: And I felt an organic
connection in the sequence
that one scene, there was a way
in which either, theatrically,
the contrast of pace and rhythm
of the scene, or
the subterranean elements
would feed into the next one,
and as we -- I remember saying
to Scott as we were approaching,
getting close to running through
with lights and everything,
that you could start to feel
that happening, and, I mean,
I think it does happen,
especially in the second act.
>> HASKINS: Had you written it
pretty much in that order,
or did you go back and...?
>> RABE: No -- Well, pretty
much, yes, but -- but I had
a lot of shuffling at one point,
and when I -- You know, I took
a very rough form of it.
I did it in a little theater
in Chicago, and I took a very
rough form out there, and I did
a lot of work there, and a lot
of scenes that didn't exist
before that were written there.
So that was what I showed Scott
and what we then went to work
with, what I ended up with.
>> LEIGHT: Not only do
the individual sessions
progress with different
patients, but there's, I think,
a thematic progression --
sort of like a suicidality
comes up with different
patients.
>> RABE: And the maternal,
the necessity and the beauty
of that and the longing
for that relationship.
>> HARRIS: One of the great
things I think that Scott
managed to do was, it's such
a big play, and there's so many
characters, and we had a good
amount of rehearsal, but a lot
of that rehearsal was just
how are we gonna manage these
37 scenes and the transitions
between them?
So a lot of it was really --
a lot of that rehearsal time
was not as much as penetrating
these characters in the scenes
as it was trying to figure out
how, in fact, this thing can
work?
You know, it was almost, really,
once we started actually being
able to preview it and run it,
that we started -- Scott really
started nailing like let's --
you know, now it's time to
[Bleep] penetrate this thing,
and that's still what's going
on, which is interesting,
'cause usually the first part
of rehearsal, that's what you're
doing...
>> HASKINS: Yeah.
>> HARRIS: ...you know, but we
kind of needed to be able
to have it be onstage to begin
with before we could even
think about, like, you know,
what's really going on
with these people?
>> ELLIOTT: [ Chuckling ] Yeah.
>> HARRIS: Right?
>> ELLIOTT: It's true.
You know, it was one of those
things where my brain had
to work like that in order
to sort of figure out
how to make it happen.
I mean, I knew that we would
be able to fill in the blanks.
I knew that that's something
that I know how to do pretty
well, but the beastness of
the whole thing was daunting,
but exciting daunting.
>> HASKINS: Right.
>> ELLIOTT: I mean, it's
something that, for me,
it was like having a big sundae.
It was delicious, and it was
really fun to work with all
these people, figuring it out.
>> MADIGAN: Just even running it
when we were still in
the rehearsal room, and we're
going to leave the rehearsal
room, which everyone was like,
"We're ready, but let's not,"
and it was like, "Okay,
we're gonna run through
the play," and even just
in the room, everyone was kind
of like, "Okay, we're gonna do
it."
You know, it was a very
exhilarating participatory
process.
>> ELLIOTT: And I think
everybody kept thinking
when I was gonna start kicking
their asses, and then I started
doing that once we had,
you know, the show up.
>> LEIGHT: There's a difference
in your therapeutic styles,
I think.
>> ELLIOTT: Totally.
That's what I love.
>> MADIGAN: [ Laughs ]
>> LEIGHT: How does that
take shape?
>> HARRIS: I don't know, man.
>> ELLIOTT: It's good, though,
right?
>> HARRIS: How would you
describe the difference?
>> LEIGHT: No, I was going to
ask you.
I mean, I have my ideas,
but I'm not playing them.
How do you think you approached
your patients differently?
>> HARRIS: I don't know how
to answer that.
>> MADIGAN: Well, you know,
I'll tell you just personally
we're different people, and
just the way we approach
our work, the way we rehearse,
the way we do our research,
the way we prep -- I mean,
there's just different ways
you approach things and you
come into it.
So I think that kind of helped
us out, and I --
Within the play, you get to see
me with my different patients
a number of times, and hopefully
there's a progression with some
of them, and not everybody
comes out great on the other
side of it, so...
And I really love listening
in this play.
I just absolutely have embraced
it and cherish it,
and I thank you both for that.
>> HASKINS: It's "Good for Otto"
at The Pershing Square
Signature Theatre, a New Group
production.
Thank you, Ed Harris,
Amy Madigan, David Rabe,
and Scott Elliott for being here
on "Theater Talk," and
thank you, Warren Leight.
It is always a pleasure to have
you here.
>> LEIGHT: Well, to be with
these guys and with you is
great.
>> HASKINS: Yes.
>> TIMOTHY: Do I have a circle?
Somebody said it's friends.
Is that right?
>> EVANGELINE: Well, yes, yes,
in a way.
>> TIMOTHY: Okay.
What way?
Because I want friends --
not just the guys at the house,
but friends everywhere,
'cause then I could have some
"for old times' sake"
someday.
You're not my friend.
You're my therapist.
And I want a girlfriend.
Because I want to get married.
I-I don't think I will have
children, though.
My mom and dad like my brother's
kids, but they are rude
and messy.
So no kids for me.
That's what I think.
What do you think?
>> EVANGELINE: Is that what
you've decided?
>> TIMOTHY: After due
consideration, that is what
I decided.
♪♪
>> HASKINS: Our thanks to the
Friends of "Theater Talk" for
their significant contribution
to this production.
>> ANNOUNCER: We welcome your
questions or comments
for "Theater Talk."
Thank you.
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