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LOVE, LOVE, LOVE: INTERVIEW WITH ACTRESS AMY RYAN

Posted on: October 27th, 2016 by Ted Sod
Amy Ryan
Amy Ryan

Ted Sod: Why did you choose to do the role of Sandra in Mike Bartlett’s Love, Love, Love?

Amy Ryan: Mike Bartlett described Sandra to me before an initial reading of the play. He said, “She is technicolor.” That mesmerized me. I’ve never played a character like her before onstage. I’ve also never taken on the challenge of playing someone over a 40-year time span. There was no way to say no.

TS: What do you think the play is about?

AR: I think the play is about the consequences of never really growing up. The passions and selfishness of Sandra and her husband, Kenneth, have a deep impact on the children. How can such bright ideas warp others?

TS: What kind of preparation or research do you have to do before rehearsals begin in order to play Sandra?

AR: It’s a couple of weeks before our first rehearsal. I read the play mostly every day. I look for language that is repeated and try to absorb Mike’s rhythm’s. I just saw an interview online with Judi Dench. She said, “Don’t always believe what other characters say about you.” That is great advice! I’m keeping that in mind as I work. I’m watching films and Youtube videos to get an accent that is right for Sandra. Richard Armitage, who is playing Kenneth, is sharing photos of London with me and has been guiding me towards some films that are very helpful.


TS: How is this character relevant to you? Can you share some of your thoughts about Sandra with us? What do you find most challenging/exciting about this role?

AR: This may sound silly, but a big challenge for me is the smoking. I hate cigarettes and never smoked. But Sandra LOVES it. I think that’ll be hard to pull off. She is very different from me in many ways, so I think it’s best to just get out of her way. Mike’s script is full of everything I need. I will let it take me for the ride. I will also not judge her as I play her.

TS: Can you talk about the relationship between Sandra and her husband, Kenneth, as you currently perceive it?

AR: It’s love at first sight. They share a deep connection from the onset, and it never really matures.

TS: What do you look for from a director when working on a stage role?

AR: I look for a sense of humor. I look for a safe environment where we can disagree with one another and not have a falling out. Mostly, I look for trust that a director will be honest when something is not truthful or working well. I don’t want a babysitter or a hand holder. I don’t want to be told something is “good” when it’s not. To me that is not encouraging. What’s encouraging is when a director can see through nerves or laziness and tell me, “You can make a stronger choice, so do it.” I like when a challenge is laid out before me.



TS: Where were you born and where did you get your training? Did you have any teachers who profoundly influenced you?

AR: I was born in Queens, N.Y. and trained at the High School of Performing Arts in Manhattan. I was trained in the Stanislavski Method. I believe the best part of that training was learning to observe other people. Taking one bus and three trains to get to school every day provided that opportunity. New York City is one of the best acting teachers an actor can find. At the High School of Performing Arts, I was influenced by my teacher Roz Schein. After graduation, my biggest influence was Cicely Berry from the Royal Shakespeare Company. I was lucky to spend time with her through Theatre for a New Audience. I learned how to make text active from her.

TS: How do you keep yourself inspired as an artist?

AR: I’m inspired mostly by New York. I’m inspired by my daughter. I’m inspired by good theatre.

TS: Students reading this interview will want to know what it takes to be a successful actress. What advice can you give to young people who say they want to act?

AR: I remember being told by a teacher, “If you can think of something else you’d be just as good at or would enjoy better than being an actor, do THAT!” I think that is very good advice. If you can’t, I’d say challenge the person who tells you “No.” Or feel sorry for them that they don’t see your talent, and move on. Write to directors and writers you admire. Research a theatre’s upcoming season, see if there’s a part you’re right for. Write to casting and share your passion for that play/part. Save your money. Share information about auditions with fellow actors.

IN THE SPOTLIGHT: LOVE, LOVE, LOVE's Ben Rosenfield

November 10
3:50 PM
2016
by Walter McBride


Roundabout Theatre Company presents the new play Love, Love Love, directed byMichael Mayer, which opened on October 19, 2016 at the Laura Pels Theatre at the Harold and Miriam Steinberg Center for Theatre. The play stars Richard Armitage, Alex Hurt, Zoe Kazan, Amy Ryan and Ben Rosenfield.

Rosenfield co-stars in the Sundance breakout feature Indignation, the directorial debut from Oscar-nominated writer and producer James Schamus, to be released this summer by Lionsgate. He'll appear next year in the David Lynch revival "Twin Peaks" for Showtime, as well as the indie feature Human People opposite Tavi Gevinson. Ben's feature film credits include 6 Yearsopposite Taissa Farmiga, JC Chandor's A Most Violent Year with Oscar Isaac and Jessica Chastain, and Woody Allen's Irrational Man opposite Emma Stone and Joaquin Phoenix. He was among the leads of Martin Scorsese's "Boardwalk Empire" on HBO. On stage, Ben most recently appeared in the controversial The Nether for MCC Theater. He launched his career in the leading role opposite Carey Mulligan in the off-Broadway play, Through a Glass Darkly, directed by David Leveaux.

Below, BroadwayWorld brings you photos of Rosenfield in the BroadwayWorld.com series 'In The Spotlight' by acclaimed photographer Walter McBride!

Photo Credit: Walter McBride

Off Script: Amy Ryan, Zoe Kazan Talk Intergenerational Lessons of 'Love, Love, Love' (Q&A)
2:35 PM PST 11/15/2016 by Ashley Lee
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Amy Ryan and Zoe Kazan at the opening of 'Love, Love, Love'

The two actresses of Mike Barlett's decade-hopping dark comedy talk unconventional subway warm-ups and looking back on their younger selves.
On the first day of rehearsals for Love, Love, Love, Amy Ryan, Zoe Kazan and the cast and crew of Mike Bartlett’s decade-hopping dark comedy participated in an exercise: they split up into their various age groups of millennials, baby boomers and Gen X-ers, and shared their biggest fears. Some mentioned AIDS and the Cold War; others mentioned terrorism and finding a job.

“Every generation is going to have differences to the one before them and the one coming afterward,” Ryan tells The Hollywood Reporter. “But as much as you may think you know or read in the newspaper, it was illuminating to hear it vocalized, and with the look on their faces.”

Directed by Michael Mayer, the play depicts the shifting lives of a couple and their two children from the late 1960s to the present day, criticizing each generation’s selfish and materialistic choices along the way. And the reaction that the actors had at the beginning of rehearsals occurs nightly among the off-Broadway audience, says Ryan, the onstage matriarch. “We can hear how the divide happens in the house, and it’s exciting.”

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'Love, Love, Love': Theater Review
That frustration is part of the Roundabout Theatre Company show's experience, explains Kazan, who plays the youngest sibling. “Art doesn’t have to have a political use, but something about this play is apropos and directly speaks to something that’s happening. There is a generational divide in this country right now; we saw it in the polls. But that conversation that happens onstage and in the audience is the most important thing.”

Ryan, 48, and Kazan, 33, go Off Script to talk unconventional warm-ups, rhythmic stage directions and looking back on their younger selves.

What do you admire about your character?

RYAN I admire Sandra’s ferocious appetite for life, and her energy.

KAZAN By the end of the play, I admire the way Rosie stands up to her parents and speaks up for herself. She’s so articulate and manages to present a cogent argument around something that’s obviously super emotional for her. When I get angry, I get so incoherent.

Zoe Kazan and Amy Ryan
Joan Marcus
Zoe Kazan and Amy Ryan
Has your role affected any real-life relationships?

KAZAN Playing a teenager made me a lot sassier at home. All of a sudden, I was like freaking out about the trash not being taken out, and my boyfriend is looking at me, like, “What the hell is wrong with you?”

RYAN I’m keeping my head down because I don’t want to bring Sandra home. At the first sign she’s in my house, there’s trouble. They’re all drunk.

What have you given up for this show?

RYAN I stopped eating dairy and sugar, other than the cake I eat onstage, and I take a giant bite. That’s the one thing. I kept saying I was going to train like I would if I were running the marathon, and I have yet to do that, so I thought, at least I can stop eating cheese. Just so I have the vocal power.

KAZAN Neither of us are drinking that much. My vocal cords are in better shape because of that. And I’m taking naps every day.

What do you before a performance?

KAZAN During the first act, Ben [Rosenfield] and I run our act-three scene [backstage]. Our relationship isn’t really established that much in the second act, and then it’s very strong in the third act, and so we just do that ritual for ourselves every day.

RYAN I start warming up my voice on the train ride up. I try to match the tone of the noise that the subway’s making so that no one can hear me. It’s a very subtle thing — or maybe it’s not, and I’m the crazy lady on the train.

KAZAN I’m stealing that.

RYAN And before I go on, I do these little steps. They really don’t make any sense: stretching my thighs, leaning against the wall, warming my fingertips under the backs of my knees, checking my bangs in the mirror. I do them all in an order, and if it’s out of order, I feel very unmoored. It’s a way to breathe and go through a motion.

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All the Broadway Shows of the 2016-2017 Season
How is this play different than other shows you’ve done?

RYAN It’s so rhythmic. Everything you’ve learned about playing a part, creating a role, feeling things, being in the moment, letting it be spontaneous every night — none of that holds true to this play.

KAZAN Yes, and there are things that feel ritualistic onstage. Like, if I cross my legs the other direction …

RYAN I have that too. If I don’t do this [action] when I talk to Richard [Armitage] in this one line, I won’t know what the line is. It’s almost embedded in a dance move. One night, I had the patterned pillow in the wrong spot. I usually hold the patterned pillow, but I had the solid pillow, and I didn’t know where I was for a minute. And another night, I took a sip of wine in the wrong spot and I missed the next line. It’s tricky.

KAZAN It does make me less self-conscious in a weird way. Sometimes when you’ve been doing a play for a long time, I become conscious of fact that the other actors onstage are aware that I’m making the same choices, and this frees that up. It sounds micromanaged but actually it feels like the opposite.

Ben Rosenfield, Amy Ryan, Richard Armitage, Zoe Kazan and Alex Hurt
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Ben Rosenfield, Amy Ryan, Richard Armitage, Zoe Kazan and Alex Hurt
What’s something special in your dressing room?

RYAN A portrait my seven-year-old daughter made of act-one Sandra.

KAZAN All of the cards that I got for opening.

You both play twentysomething versions of your character. What were you actually like in your twenties?

RYAN It’s funny — at 48, I feel more youthful now than I ever did at 22. I was serious, a working professional. And the beauty and freedom of getting older is you’re glad to not know as much as you once thought you did. I thought I knew it all. [Now] I find other people interesting and I’m open to them.

KAZAN I felt so filled with yearning to live my adult life, to be a working actor, to find my people. The appetite that I had was so outsized to my ability to know what I wanted, and I think it made me feel sad and lonely, like the big want I had would never find a home. It made me look outside myself for validation and for a sense of self. The creation of self that I tried to do online then, I find it embarrassing. I felt a deep desire to be seen and known without being able to see and know myself yet.

I’m ten years past my early twenties now, and I could not be more grateful for those ten years. I had so much more blind confidence in myself than I do now, but I wouldn’t trade my self-awareness and self-knowledge for that.

Love, Love, Love plays at the Laura Pels Theatre at the Harold & Miriam Steinberg Center for Theatre through Dec. 18.

Hannah Levin November 16, 2016 Broadway, Hollywood
AMY RYAN ON DOING WHAT SHE LOVES

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I attended Roundabout Theatre Company’s Love, Love, Love with one of my best friends. She is 20, I am 19. The play starts with the main characters, Kenneth and Sandra, at just about that age. It’s the 60s, a time of love and revolution. The moment Amy Ryan stepped out onstage as Sandra, something hit close to home. My friend and I could see ourselves in her passionate spirit. Through the night, the play took us on a wild ride of 40 years full of love, defeat, goals acomplished, and dreams crushed. It was one of the fullest, most gratifying theater experiences I’d had in a while. The play pushed us to consider, “Do you do what you love and risk failure, or do you play it safe, go for the money, and look for security?” For someone intertested in enterting entertainment, that’s a tough question to answer. We all know how hard the business is, so should we really go for it? Ms. Ryan was nice enough to give us some answers. She started her career at 18 and hasn’t stopped since. She loves the work and does it so well. In this interview, the Academy Award nominee talks about her youth, her craft, and how she achieved success.

When did you catch the acting bug?

Going to see theater in New York: my parents would take my sisters and myself. We would go to the TKTS booth and get discounted tickets. The earliest memory I have is A Chorus Line, the musical. That sort of did my head in. I wasn’t a singer-dancer. I knew I wasn’t going to be that. But I knew I wanted to be a part of the theater some how. So that was about 6th grade.

Would you credit A Chorus Line as the big thing that inspired you to pursue a career as an actor?

That was the first thing—my first exposure to theater in general. As I got older…a big influence for me as an actor was watching Mike Leigh films. I was mesmerized and kind of astounded that these were actors. I felt as though they were just real people and he took them off the street and put them in the movie. The idea that you could hide away every part of yourself and change your own molecules and DNA to become someone else really thrilled me [Amy laughs]. But I would say the influences kept changing overtime. As I matured, my taste started to change.

You went to the High School of Performing Arts—now known as LaGuardia—where you learned Stanislavski technique. How did that training benefit you and do you still use elements of it today?

Somewhat. They were quite strict with it in the school. Then by senior year I remember the head of the drama department saying to us, “One trick of the method is when all else fails you now have a bag of tools to turn to. Don’t feel burdened or held down by this method. It’s for when you don’t know what else to do.” That was very freeing. Sometimes I didn’t know: “I don’t know what my intention is. I don’t know.” I do use it before as I’m working on a script. I might write down, “What does this place say about my character? What do other characters say about my character? What do other characters say about my character?” Just more homework and backstory. But then I let it all go. I really rely on the writer and the writing and to be taken with them. If something confuses me, then I’ll go back to method.

You started working at 18, so you must have learned a lot on the jobs you were doing, too.

I remember little, subtle things along the way. One of the first or second plays I was in, I remember my sister coming. There’s no fooling your own family. They know you. I remember my sister seeing the play and say, “Yeah, it was good, but you didn’t know what to do with your hands.” I translated that to, “You’re really self-conscious, you’re not focused. You’re outside the whole world. I shared it with the director—it was an Ibsen play—and he was like, “We’ll just give you a shall.” Just having this simple scarf to hold on to, everything else started to melt away. I wasn’t fiddling with my hands the whole play because I was nervous or self-conscious, it was just a matter of putting it into some other prop or action. With those tiny little things, the returns were huge in confidence.

Having started young I was at such an advantage because I was surrounded by older, more experienced actors. I stayed quiet a lot, observed them, asked them questions. I feel grateful I was around them and not largely around a group of 18 year olds where none of us knew what was going on. That was really helpful.

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Amy as 19 year old Sandra and Alex Hurt in Love, Love, Love
In Love, Love, Love we first meet Sandra at 19. She has an undeniable passion to make change and be part of something special. Were you like that at 19? If so, how did you harness that energy to help you in the beginning of your career?

I certainly didn’t have Sandra’s confidence. I was much more shy of a kid. I did believe wholeheartedly that I was going to be good at this thing. Whether it was blind passion and ignorance, I don’t know. Also, which is the opposite of having self-esteem, I didn’t believe that I’d be good at anything else. I didn’t know what I would do. It was a this or nothing mentality. That was the drive. And I really credit my parents, who were on the sidelines but involved—not in a meddling way. My mom would constantly tell me if I didn’t get a job, “Well, there’s something better around the corner.” It kept me from dwelling on the why didn’t I get that? and feeling sorry for myself. I was like, “Oh great something else will come up and now I’m free for that.” That was the beginning of passion and drive.

Working right away out of school helped. But after my first job I didn’t work for another six or seven months after that. It was tricky. I was like, “What do I do?” I started setting goals for myself—being proactive. I started writing to theaters to learn about their season and see if there was something right for myself. I wrote to directors I admired. Today I’d be more shy to do that. But at 18 and 19, I had to let them know! [Amy laughs] I don’t think I’d do that today. I miss it.

I feel like today we create such barriers between people—especially in the entertainment world. People we admire are made inaccessible, when really we’re all just trying to accomplish the same thing. So did you find that tactic of contacting directors successful?

I did. Yeah, there were days when it didn’t work so well and I was wondering what am I going to do next, but I also learned from older actors as well to save your money so you can afford to do theater. At first you won’t make a lot of money in theater so, when you make money, save it so you can have artistic freedom and more choices. That’s very freeing.

The play offers a harsh reality of following your dreams, particularly in a creative field. Of course success is not guaranteed and so much about the arts is subjective. That said, from your years in the business, what are some things that make achieving your dream more possible than not?

For me, an actor really needs that collected group. You need that play to get written. The movie to be written, and then be chosen and assembled with another group of actors to work. And, for me, I had a list in my head and my heart: What actors do I admire? What choices do they make? And I would try to make similar choices. Back in the early days in New York, I had no aspirations to move to Hollywood. I would follow the careers of Laura Linney, Patricia Clarkson, Philip Seymour Hoffman, just great solid character-actor New Yorkers. I aspired for their choices for myself. I [wondered], “How do you achieve that?”

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Phillip Seymore Hoffman and Amy Ryan in Jack Goes Boating
There are choices on my resume that I am not excited about but I was very excited they paid my health insurance, like an episode of a TV show here and there, and then I was able to do a play at Second Stage, things like that. So, it’s a balance. It’s not all one or the other. Especially for me, I started doing a lot of theater out of town. It dawned on me that as wonderful as these theaters were with their plays and opportunities, it wasn’t going to get me cast in a play in New York City. After a while as an actor, you have to start saying no to the thing that’s expected of you, be it your agents expects you would want to do this play or that director thinks you can only do that. So that’s something, thirty years into it, I’m still trying to do: convince people that I can do something they haven’t seen yet.

In the case of this play, I was so lucky that Michael Mayer, our Director, was someone I met when I was nineteen years old at the Hangar Theater summer stock. He was a new director and it was my second or third play ever. We didn’t work together then, but he was there in the same company. So, it’s growing older with your community and supporting one another along the way…

The play is set over the course of 40 years. How did the time aspect influence how you approached the script with so much mapped out about your character?

The speed of the play is very jarring every night. Once in awhile it really hits me, the line, “We’re going to die. We shouldn’t waste our lives.” Oh my god, you spend, obviously it’s fictional, but you spend forty years in two hours! It gives me goosebumps, “Oh, what am I doing with my own life? Am I doing enough?” It’s very moving to me to play that…I was a part of designing the wigs, the costumes—even just doing Google searches for hair that I thought would be the right spirit for the character who was already forming in my head. So it was a total collaboration with Susan Hilferty, the costume designer who also helped in designing the wigs. Once that was set, [I found] so much freedom in the head of hair she has. [Sandra] wasn’t the teenager I was. There’s a brazenness that comes with her, I think the energy is mostly from Mike Bartlett’s script: the language that’s used when she’s nineteen and then as she ages. The speed of [the show] really helps the energy that’s needed to suggest those different ages.

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Richard Armitige and Amy Ryan in Love, Love, Love
What’s your pre-show routine?

I do warm up my voice because I’ve never spoken this much or this fast on stage. Also, I’ve never smoked cigarettes in my entire life. I was very nervous about that—for my health, even though they’re herbal cigarettes. It’s always been something I’ve been really repulsed by and now I’m playing someone who loves it [Amy laughs]! Judi Dench in Amy’s View, her character was a chainsmoker. I remember seeing that play. Someone told me she only ever lit [the cigarette]. The trick was just to be seen with it. So it’s always in your hand and it’s always near your face. You can talk with it like a prop, and I thought that might help. There’s not much time to smoke [in Love, Love, Love] as I’m speaking because the dialogue comes at such rapid fire, but that was great trick to learn. And then I just throw on my clothes!

What’s your advice for aspiring actors?

See everything you can. Read everything you can. Read articles. Sit on a park bench in a crowded area and watch people. Take notes, because life is theater. You may be in the rehearsal process and think there’s no way my character would do this or that. You’ll find permission off the streets, especially in New York. People do behave in funny ways that defy our expectations. And, save your money. Be kind to yourself. You are good. You do deserve to be here. I remember our teacher at LaGuardia said that, if you can think of anything else you really would enjoy just as much and there’s something else you might really be good at, then do that, because this is hard. When it’s great, it’s great and when it’s hard it fucking sucks!…

I’ve had a lot of talented friends who aren’t working now and it’s not because they’re not talented, it’s because they either dwell on why they didn’t get that part: “Why did she get that part? Why did he get that part, they’re not good?” Maybe they’re right that they’re not that good, but that has nothing to do with you—absolutely nothing to do with you. It’s not a conspiracy.

To sit and be a reader at auditions is one of the best, eye-opening experiences a young actor can have. You see how many people have an opportunity to stand before a director and casting director and are unprepared. They didn’t make a choice; they just printed out their pages the day before or that morning. It’s shocking. I promise you, all those directors and casting directors want you to be the person to get the job because then their day’s done. They are really rooting for you. Chris Bauer, the actor on The Wire who I was friends with when I did the show, he said one thing to me once. He said, “Ryan, get out of your own way.” So true. Stop with the negative. I repeat that in my head a lot.♦

Mike Bartlett's LOVE, LOVE, LOVE Enters Final Weeks at Roundabout
December 5
1:23 PM
2016


Roundabout Theatre Company will conclude its critically acclaimed production of Mike Bartlett's new play Love, Love Love, on Sunday, December 18.

Directed by Michael Mayer, the cast includes Richard Armitage (The Hobbit), Alex Hurt (Cat on a Hot Tin Roof), Zoe Kazan (The Seagull), Ben Rosenfield ("Boardwalk Empire") and two-time Tony nominee Amy Ryan ("The Office," A Streetcar Named Desire). The production was a part of Roundabout's 50th Anniversary Season.

At the time of closing, Love, Love, Love will have played 30 preview performances and 70 regular performances. Previews began on Thursday, September 22, 2016 and the production opened officially on Wednesday, October 19, 2016.

London, 1967. Beatlemania is in full effect, the "Me" generation is in its prime and Kenneth and Sandra have the world at their fingertips. It's the summer of love, and that's all they need. But what will happen when the sex, drugs and rock 'n' roll fade away and these boomers have babies of their own?

A New York premiere from the theatrical voice that dazzled Broadway with King Charles III, Love, Love, Love is the new dark comedy from Olivier Award winner, Mike Bartlett. Tony Award winner Michael Mayer directs this provocative play spanning more than four decades that lays bare the consequences of growing older without growing up.

The creative team includes Derek McLane (sets), Susan Hilferty (costumes), David Lander (lighting) and Kai Harada (sound).

Roundabout's work with new and emerging playwrights and directors, as well as development of new work, is made possible by Katheryn Patterson and Tom Kempner.

We gratefully acknowledge the Roundabout Leaders for New Works: Alec Baldwin, Linda L. D'Onofrio, Peggy and Mark Ellis, Jodi Glucksman, Sylvia Golden, Judith and Douglas Krupp, K. Myers, Laura Pels International Foundation for Theater, Lauren and Danny Stein, Harold and Mimi Steinberg Charitable Trust, Yolanda R. Turocy, Lori Uddenberg, and Xerox Foundation.

Roundabout Theatre Company is committed to producing the highest quality theatre with the finest artists, sharing stories that endure, and providing accessibility to all audiences. A not-for-profit company, Roundabout fulfills its mission each season through the production of classic plays and musicals; development and production of new works by established and emerging writers; educational initiatives that enrich the lives of children and adults; and a subscription model and audience outreach programs that cultivate and engage all audiences.

Roundabout Theatre Company presents a variety of plays, musicals, and new works on its five stages, each of which is specifically designed to enhance the needs of Roundabout's mission. Off-Broadway, the Harold and Miriam Steinberg Center for Theatre, which houses the Laura Pels Theatre and Black Box Theatre, with its simple sophisticated design, is perfectly suited to showcasing new plays. The grandeur of its Broadway home on 42nd Street, American Airlines Theatre, sets the ideal stage for the classics. Roundabout's Studio 54 provides an exciting and intimate Broadway venue for its musical and special event productions. The Stephen Sondheim Theatre offers a state of the art LEED certified Broadway theatre in which to stage major large-scale musical revivals. Together these distinctive homes serve to enhance Roundabout's work on each of its stages.

Roundabout Theatre Company's 50th Anniversary Season celebrates the company's numerous accomplishments and vision for the future with bold new productions of classic plays, a revival of the Roundabout's first musical, and new work by some of the country's most exciting young talent. Founded in 1965, Roundabout Theatre Company has grown from a small 150-seat theatre in a converted Chelsea supermarket basement to become one of the nation's most influential not-for-profit theatre companies, as well as one of New York City's leading cultural institutions. Roundabout has been recognized with 36 Tonys, 50 Drama Desks, 59 Outer Critics Circle, 12 Obie and 18 Lucille Lortel Awards for its work on five stages, reaching more than 700,000 theatergoers and employing hundreds of artists each year. Bank of America is a proud 50th Anniversary Season sponsor - a partnership that makes possible Roundabout's many productions and not-for-profit initiatives during this landmark year.

Roundabout's current 50th anniversary season in 2016 includes Holiday Inn, The New Irving Berlin Musical by Gordon Greenberg and Chad Hodge, directed by Gordon Greenberg with music and lyrics by Irving Berlin; Love, Love, Love by Mike Bartlett, directed by Michael Mayer; and the national tour of Sam Mendes & Rob Marshall's Tony Award-winning production of Cabaret.

The 2016-2017 Roundabout Underground season includes Kingdom Come, a new play by Jenny Rachel Weiner, directed by Kip Fagan; and On the Exhale, a new play by Martín Zimmerman, directed by Leigh Silverman.

Roundabout's season in 2017 will include John Turturro, Tony Shalhoub, Jessica Hecht and Danny DeVito in Arthur Miller's The Price, directed by Terry Kinney; If I Forget by Steven Levenson, directed by Daniel Sullivan; Marvin's Room by Scott McPherson, directed by Anne Kauffman; Napoli, Brooklyn by Meghan Kennedy, directed by Gordon Edelstein.

Photo Credit: Joan Marcus

Ich glaube jetzt wohl langsam nicht mehr an ein Streaming von LLL .... oder ???
Die Hoffnung stirbt zuletzt mit dem letzten Tag von LLL....

For the record, I'd like Amy Ryan & @RCArmitage to play off each in a play every 5-10 years. I'm compiling a list in my head. #LLLplay.