DAN'S PAPERS, July 24, 2009 Page 33 www.danshamptons.com
Who’s Here
Susan Galardi
By Susan Saiter It was at his bar mitzvah that Harris Yulin became an actor. “It was so much fun,” he recalled during an interview outside his Bridgehampton house over a picnic table covered with books and scripts. “That’s what first motivated me toward performing.” He was joking — which he does a lot of — while petting his frisky but well-mannered West Highland Terrier, named Katy — or Katie (“She never told us how she spells it”). Though the bar mitzvah audience did not immediately yield a fan club — “my friends thought it was horrible” — it didn’t matter. He went on to a stage, film and television career that has spanned 50 years and has included directing as well as acting. Taking a break this summer from acting, he is directing a production of The Glass Menagerie at Guild Hall’s newly refurbished John Drew Theater. Reviews have been quite positive. Yulin said he loves being on either side of the camera and stage. A few times in his life, he’s tackled both at the same time. “It’s hard work to bounce in and out. The last time I was both in a play and directing was about 10 years ago — a play by George Bernard Shaw with Diane Weist.” At least, he said, “ It made it easier that I died after the first scene!” He said he has “no idea” how many roles he has played during his long career since it took off in 1970, in End of the Road. Perhaps his most well-known role was that of a very nasty and very crooked cop in the 1983 Scarface, and since then he’s appeared in lots of popular, fun films including Ghostbusters II, Final Analysis, and Clear and Present Danger. For actors, he said most of the work comes from TV, and among his notable appearances was a turn in “Star Trek: Deep Space Nine,” in the famous episode “Duet.” He was nominated for an Emmy for his part in the series “Frasier,” but the truth is, Yulin doesn’t watch much on TV other than vintage films on TCM and Sundance. His favorites include Barbara Stanwyck and Edward G. Robinson. While Yulin may have multiple gangster roles in his past, in person he is a charmer who leaves you wondering what he’s going to say or do next. Yulin has the charisma of a born actor, which likely would have shown up, bar mitzvah or not. As far as his own favorite role, he won’t admit to having one. “Most roles, I’ve enjoyed. An actor’s favorite role is the one he’s working on.” Nor does he admit to a first love, acting or directing. “They’re just very different,” he said.
Harris Yulin, Director, Actor
Amanda in the 1987 film and Katherine Hepburn’s in the 1973 made-for-TV movie. Yulin said he has watched neither film, preferring to approach the play without other directors’ and actors’ interpretations interfering with his own vision. “I can’t imagine another cast now,” he said, adding that Ebon MossBachrach (as the main character, Tom) must be “channeling” Tennessee Williams. “He brought a great physicality to it. And his relationship with Amy is wonderful.” In the film versions, Laura is a friendless, dependent daughter who can only relate to glass miniatures, particularly the symbol-laden unicorn. In the current production, Louisa Krause shows a little more attitude when her mother keeps after her about finding a boyfriend — and a life. Of Krause’s interpretation, Yulin said, “There’s never even the question that she is the daughter, she is the sister.” Yulin also praised the talent of John Behlman, the gentleman caller, whose cheerful self-confidence and empathy for Laura provides romance and relief from the play’s tightening tension. “Someone said that casting is 95% of a play,” Yulin said. “I say it’s 100%. But then so is choosing the various designers. Every part is 100%.” While Yulin’s math may be fuzzy, his vision for the play wasn’t. The women’s costumes have a romantically faded and languid ‘30s look, Tom’s porkpie hat, sweater vest and baggy trousers look like he just stepped out of a black and white film, and the slightly seedy, unmatched furniture gives the impression of former gentility making-do. The set design closes in on the Wingfield family, or what is left of it, and makes the audience long for their escape as much as the characters do. Yulin hopes that East End audiences will re-visit this play, not only because he believes Williams was one of the best or the best American playwright, but because of its “enormous craft” and its autobiographical undertones. “It’s a seminal play about our time and who we are,” even though, or maybe because, it is set during the Great Depression, he said, and it anticipates a great war. “People should see it and form an opinion,” he said. “Tom is Tennessee. And Tennessee was our greatest playwright.” And speaking of writing, Yulin’s current projects include working on a film script he’s been wrestling with for years, and then, most likely, more acting roles. “I hope it never ends,” he said.
”The last time I was both in a play and directing was about 10 years ago... It made it easier that I died in the first scene.” “In directing, you’re working with designers and actors. It’s like the difference between conducting an orchestra, instead of being the soloist. When it comes together, it’s one of the biggest satisfactions. And especially when you’ve got players like those in this production [of The Glass Menagerie].” Casting actors and selecting set designers, along with rehearsals, are the most involved and time-consuming part of directing. Once the play begins, he attends a few per week to see how things are going, and tries not to meddle too much. Having known Amy Irving since they worked together in an episode of “Police Woman,” he thought she’d be perfect for the role of Amanda. Irving plays the role rather low-key, compared to Joanne Woodward’s