Joan van Ark/Coming of Age/Spring 2013/by Kelly Oden

COMING of AGE

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An Exclusive Interview with

n a o J rk van A

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An Exclusive Interview With

Joan van Ark

Joan van Ark was born in New York City, the daughter of Dorothy Jean, a writer, and Carroll van Ark, who worked in advertising and public relations. Her father named her after Joan of Arc because he was certain that she would become famous. Joan’s paternal great-grandfather, Gradus, was an immigrant from the Netherlands. Both of van Ark’s parents and her sister, Carol, were writers. She grew up in Boulder, Colorado, and also has two brothers and a sister.

Van Ark was the second youngest student to attend the Yale School of Drama on scholarship; her mentor and Knots Landing co-star, Julie Harris, was the first. Van Ark got her professional start at Minneapolis’ Guthrie Theater in Moliere’s The Miser, opposite Hume Cronyn and Zoe Caldwell, followed by Death of a Salesman at the same venue with both Cronyn and Jessica Tandy. After a season at the Arena Stage in Washington, D.C., she was cast in the national touring company of Barefoot in the Park, directed by Mike Nichols and recreated the role in the critically acclaimed London company and later on Broadway.

Joan van Ark began 2013 by reprising her iconic character, Valene Ewing, on TNT’s smash Dallas reboot, a role she played for a combined 15 seasons on Dallas and Knots Landing. Also in January, the SPRING 2013

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Joan and Brian Bedford on Broadway in School for Wives Tony nominated actress appeared as a celebrity judge on RuPaul’s Drag Race, the PBS special on Prime Time Soap Icons and the indie feature Watercolor Postcards. She has earned six nominations and won two Soap Opera Digest Awards for Best Actress. She also appeared for a season on CBS’s The Young and the Restless, creating the role of Gloria Fisher. Prior to her role on Knots Landing, van Ark was also a series regular on the TV sitcoms Temperatures Rising and We’ve Got Each Other. As a director, she was nominated for the prestigious Humanitas Award for an ABC Afterschool Special in which she also co-starred.

Her other film efforts include two independent features, Net Games and Diamond Zero with Tippi Hedren, Held for Ransom with Dennis Hopper and Up Michigan. Her television movie credits include: Tornado Watch, When the Darkman Calls, Moment of Truth: A Mother’s 30 COMING

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Deception, In the Shadows: Someone’s Watching (actor/producer), Menu for Murder, Always Remember I Love You, My First Love and Shakedown on the Sunset Strip. She also starred as the Vice President of the United States in the FOX Family telefilm Loyal Opposition and television episodes of Twice in a Lifetime and the FX comedy Son of the Beach. Her other more recent television appearances are on My Name is Earl and two appearances on FX’s Nip/Tuck, playing a Beverly Hills cougar. Ms. van Ark also directed a short documentary on homelessness and domestic violence for the Directors Guild of America, which was nominated for an Emmy.

Lifetime Television featured her career on its one hour retrospective, Intimate Portrait.

She earned a Tony nomination for her Broadway role in The School for Wives and won Broadway’s Theater World Award for The Rules of the Game. In 2005 she appeared at the Kennedy Center in the world première of Tennessee Williams’ Five by Tenn as part of the Center’s Williams celebration with Sally Field, Patricia Clarkson and Kathleen Chalfant. She costarred in the Feydeau farce Private Fittings at the La Jolla Playhouse, the New York theatre production of The Exonerated as well as the West Coast production of the off Broadway hit Vagina Monologues by award-winning playwright Eve Ensler. Her most recent theater appearance was in Tennessee Williams’ A Lovely Sunday for Creve Coeur at Hartford Stage directed by Michael Wilson.

Joan is still married to her high school sweetheart, John Marshall, an award winning TV newsman. Their daughter, Vanessa, is also an accomplished actress, director and comedian.

COA had the distinct pleasure of speaking with Mrs. van Ark about her life, her career and her thoughts on aging.

COA: Tell me a little bit about your upbringing.

You were raised in Colorado, correct?

JVA: Absolutely, yes. I was born in New York City and I feel like I have two parts of my DNA; one is East Coast and the other Colorado cowgirl.

When I was seven years old, we moved out to Colorado to this amazing hilltop in Boulder where my father was a writer and photographer for

COA: That sounds like a pretty amazing place to grow up. Were you more into the cowgirl part of it, or were you a skier, or both?

JVA: I crushed either on the quarterback of the football team, or on the cowboys, of which there were many. In fact, I did Above right: Broadway Program for Annie, Get Your Gun at the Red Barefoot in the Park Rock Amphitheatre which is outside of Denver. It was a killer, Left: Joan and little lamb gorgeous theatre. My manager just went back and saw Bob Dylan there. So I did Annie, Get Your Gun out there and I had, at the time, the trick rodeo riders Clarence and Cleve Griffin. I even remember their names, I can’t believe it. They taught me how to do these trick mounts so I could do them Time Life magazine. He got out of the car and with my horse Rambler and I did it at a stadium looked at this hilltop and said, “This is where I want to raise my family.” So we all moved out to and at Red Rock Amphitheatre. I have this hysterical picture of me in hair curlers upsideBoulder and built a house on this hilltop, which is still there. My brother lives in that house, with down in a costume with fishnet stockings and cowboy boots. We did the show there and it was an almost 360 degree view of the Rocky just an amazing experience. I used to also do the Mountains and the Continental Divide. The rest of my family, my two brothers and sister, they’re rodeo, which was in Littleton. I would compete in Boulder still. That’s the Colorado chapter. I go on horseback doing the barrels and races. I grew up outdoors and that’s why I run now. back to New York occasionally. I’ve done Broadway and a couple shows. I always think, COA: You mentioned your father was a writer whenever I start a character, “Is this the New and many in your family were writers, but you York or the Colorado part of me?” became an actress. What first interested you acting and theater, instead of writing or anything else?

Above: Joan and Michele Lee and Donna Mills

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boys? I think I’ll try this.” That’s what got it started at age 14. I have since decided that I very much still love the boys.

COA: So you went on to professional theater.

Do you have a favorite play that you were in?

JVA: That’s like saying who your favorite child is.

But I will tell you, The School for Wives, which was on Broadway and was my Tony-nominated performance. My amazing director and co-actor taught me. I went to the Yale Drama School straight out of high school, but he taught me in a year and a half. My daughter was very, very young at that time, so I only stayed with the tour for a few key cities like LA, San Francisco, maybe Chicago. School for Wives was amazing. Also Mike Nichols directed me in Barefoot in the Park, which was my very first major professional theater credit. Having Mike Nichols at the helm is something an actor never, ever forgets.

COA: And then you went on to television and movies. How do you feel about the difference between live theater and movies and television?

Joan and Ted Shakelford

JVA: Well, I mentioned the quarterbacks in high school. A quarterback in high school, while I was away on vacation, asked a friend of mine to go to the prom. He didn’t ask me and I was so heartbroken with Russell James; that was his name. I credit him many times with the start of my acting career. He was a senior, I was a freshman. I expected him to ask me to the prom, but he didn’t. I was so heartbroken, and I noticed there was an audition for parts in a play at the community theater in Boulder. I auditioned with a cold reading for Erma the waitress in the Madwoman of Chaillot. When I got up on the stage and read the monologue, you could hear a pin drop. For me, as an actress, or whatever I was—a little idiot teenager—for the audience, the director and producers and people waiting to audition, with that silence, I thought, “Who needs 32 COMING

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JVA: Well, basically the nucleus of it is all the same in that it’s truth, truth, truth. Keep trying to tell the truth: the character, actress, all of it. It’s just that in TV it has to be very subtle and nowadays even more subtle. I think the product on TV now, especially cable, is really as good as it

Joan as Valene in Knots Landing

gets. I think cable has just redefined film work, and wonderfully so for a rainbow of actors. It offers product and material that is just amazing.

For theater of course, you’ve got to hit the back of the house seamlessly, you can’t push it. It’s just a bigger scale, to state the obvious.

COA: I understand that you were named after Joan of Arc, because your father was certain that you’d become famous. At what point did you personally feel you had fulfilled that?

JVA: I still don’t think I’ve fulfilled that. I still don’t. I’m so not done. It’s just an evolution, it’s something that never stops. You keep trying to be better and stronger, and more aware and fluid.

That’s the thing I realize as I age, that you can’t get locked in your way. One shouldn’t do that anyway. You can’t say, “This is the way it used to be.” You can’t think that, because it’s just not true. Every moment, everything is being redefined, and you have to keep up with that, and stay on top of that, and be available to do that. Tweak your process, tweak your performance, all of it. You have to keep being ready to tweak it.

COA: Your character in Knots Landing was originally just supposed to be just a one-time appearance. So what do you think inspired her longevity and then a spin-off?

Joan with Alec Baldwin and Julie Harris

Joan in Five by Tenn at Kennedy Center JVA: I just dug deep with her and into her. I usually read a script or offer and I immediately say, “Can I get inside of her?” I remember when I got to Dallas, and it all happened very fast, because they had someone lined up and that fell through, but it was a fast kind of thing.

Television rhythm is even more rapid now. So I jumped in really fast and I remember arriving in the cab to go to my hotel to start wardrobe fittings and I remember sitting in the car and talking to the driver, and trying to pretend that I was from Dallas too. I kept trying to make him talk so that I could pick up the way that she would’ve talked and sounded. That was sort of my homework. I went deep, which is what I see, when I’m in the Directors Guild of America, in SPRING 2013

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JVA: A little bit of both. I’m definitely grateful for her, because she is probably what I’m known for the most.

However, I am just wild to recreate a lady, to bring someone else that’s my quest, (like a grandma biker.) I don’t know. I’m just wild to find another lady and fill her silhouette and flesh her out and give ying-yang to Valene who was so good to me for 15 plus years.

COA: I’ll be interviewing Michelle Lee soon. She worked with you on Knots Landing. How was it to work with her?

JVA: I hope she will echo this, but there are maybe three or four people who are just in my life forever, and she is right at the top of the list. We are just intertwined like crazy. She is in my DNA for the rest of my life because of the time we shared together.

Joan with David Dukes in School for Wives Joaquin Phoenix who is popular with the group of actors. He goes like Christian Bale did in The Fighter. You have to commit that fully to really mine the gold of a character. Every time I see a performance like that, it’s what I strive to do.

I’m lucky enough to be given a character like that. Maybe that’s what made Joan jump into Valene, and just give it all I had. I never, ever dreamed that it would lead to a total 15 years of employment and living with a character, but that’s how I went at her.

COA: When you have a character that long, by the end of the 15 years, are you done with her or do you still care for her?

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COA: Speaking of your 15 years in that character and on that show, and more recent shows like Nip/Tuck and Archer, how is television different today as an actor than it was back then, or is it much different?

JVA: It’s definitely different. It is way different.

Again, the rhythm of production now, because time is money more than ever. You may get a call at 6 pm for something at 8 or 9 the next day. I have heard what I would consider horror stories as an actress of scenes being brought down to the set. Just as you’re about to start one scene, they bring a rewrite of another scene down to the set and they hand the pages to the actors. Things are done at a mach speed now. I had a manager say

to me, “You have to be sure you’re ready to jump on the hamster wheel to be a part of what is television right now.”

It’s such an image to me. I have to say, too, that for divas, since my brand isn’t the bag lady, but for someone who strives for glamour or a look or a brand, you’re on a hamster wheel just keeping it together.

My running has been something I started just after Barefoot in the Park in London, which was the beginning of my career. I feel like a person has to break a sweat everyday, a workout sweat. I do ten plus miles everyday, with running shoes and tights and everything. I’m kind of proud of this: I’ve Joan with Michele Lee and Donna Mills done 14 marathons, including Boston, which you have to qualify for. You have to do a JVA: I don’t know, I hate numbers. three and a half hour run in order to qualify to do the Boston Marathon.

COA: Well it’s been very long by Hollywood COA: Do you have any other secrets for staying standards. What’s your secret to keeping the romance alive in a Hollywood marriage? in shape or youthful?

JVA: I study whatever I have to do that day in the sauna. I sauna almost every day. I have calisthenics and a sit-up machine that I use. For me, I work out mental stress and problems and solutions when I’m moving. I remember reading once that in Germany they took seven to 12 year old students and tried to teach them difficult passages of music. They found that when the kids were on a bike or something where they were physical, they absorbed it and retained it, three or four times as fast. Motion and activity help detoxify the riff-raff and crystallizes what is important. You get priority strength, which is why I love to work out.

JVA: Well my husband’s frequent separations and frequent loss of hearing. That’s probably it. I don’t know, he’s my best friend, other than my own siblings Carol, Mark and Dexter. My husband is my soul mate. That’s not to say it isn’t work, because everything that’s worthwhile is work, but he’s my partner. I am really blessed, especially in this business, that I have someone who shares my highs and lows and all the battles.

COA: You’ve had a very long marriage to your high school sweetheart since 1966.

JVA: Yes. Ted Shackelford. That pops right out. I don’t know if it’s because we’re about to shoot together. We’re going to Dallas to take part in the

COA: Speaking of men, you’ve had the pleasure of working with many attractive and wellrespected male actors. Do you have a favorite male counterpart?

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Dallas reunion. David Duke was another one; he played opposite me in School for Wives. He was a brilliant actor who left us way too soon. He was on location shooting a TV movie playing a game of tennis and halfway through the game he didn’t feel so well. He walked over to the water cooler and just dropped dead. It’s horrible. I tend to become close to whomever it might be, because it’s so amazing, I’ve talked about the rhythm of television and theater, but the truth is you become family when you’re on a movie or TV shoot. And then you may not see them for a long time if at all again. It’s a wonderful but strange existence when you become intensely close and then you don’t see them. But you become family almost.

COA: You mentioned the Dallas project. What are some of your other recent or upcoming projects?

JVA: I have something I’m very proud of, which is an independent feature. I have always told my manager, “Find me someone unexpected.” This is an independent feature that I filmed last April or May. It’s called Watercolor Postcards. It’s being submitted to Sundance and all the festivals right now. A young actress, Bailee Madison, who’s played everybody’s daughter, plays my daughter.

It’s dirt-poor Texas and she’s terminal with cancer, and she can’t afford chemo or radiation.

So Bailee goes to the local store and gets a bottle of vodka and becomes an alcoholic terminal cancer patient. For me, anyway, I thought this was a gift. They spray-painted me white and gave me sunspots. It could not have been more of a polar opposite of what I usually strive to present on camera or on stage. I play this kind of completely out of it kind of woman. They edit it together and they’re very happy with it. I talked to the director a couple weeks ago, and he said they’re submitting it to all these different festivals. I also did a webisode, where I was in a takeoff of Toddlers & Tiaras, called Pretty.

There’s an indie soaps award that is a big event in New York City, and I won best comedy guest award, which I still haven’t gotten, because the director picked it up for me. I’m kind of proud 36 COMING

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of that, because I went to film it and I said, “You do with me whatever you want me to look like.”

I’m sort of the senior version of the young, little girl toddlers. It’s hysterical. It’s on the web. I wouldn’t know it was me; it was scary. I have the same little outfit that the little girl version wore and I’m wearing it at age 95. I’ve got a tiara on my head and a banner. Senior Toddlers & Tiaras.

It was just hysterical. It feels like you’ve got to take chances, make voyages, attempt them, because there is nothing else. I have to release some of the rules and things I have that I thought were the way they were supposed to be. Like I said, be fluid and let the perfectionist part go.

I’m a celebrity judge on something that is upcoming during the spring. I had to sign a confidentiality clause so that I wouldn’t say, but it’s an iconic show that is on cable. I love it desperately. Also the Paley Museum of Broadcasting, which is out here and in New York, has this insane exhibit. I’ve never seen myself as a dummy in a museum. Warner Brothers is doing a Ladies of the 80s exhibit of all these clothes we wore during the 80s.

COA: Are you involved heavily in any specific charities?

JVA: Yes. The Barbara Davis Juvenile Diabetes Center in Denver throws the Carousel Ball, which is like the Oscars every other year. We just went to it a couple weeks ago. It rivals the Oscars. I started with it because I’m from Boulder and the Center is in Denver. My nephew goes to it, that’s how I became aware of it. I wrote a letter that said, “I’m here to do whatever I can do to help.”

So we started going to the Carousel Balls, I spoke at luncheons they gave in Denver, etc. I’m very much a part of that. And then there’s another group, the Anne Douglas Center in Los Angeles, which is for women off the street to rehabilitate and spend nine months to a year in this dormitory to get them clean and sober again, and then try to phase them back into society with jobs. It’s an amazing program for women. Kirk Douglas’ wife runs it. There’s a celebrity group that participates in the fundraising events and we did it when they give gifts at Christmas.

COA: Your daughter Vanessa is also an accomplished performer and actress. Did she always want to follow in your footsteps and how did you feel about that?

JVA: She didn’t want to follow my footsteps at all, and that’s why I’m more proud of her. She has kind of created her own kingdom, if you will, because she is literally the voiceover queen of Los Angeles at least. She has a studio right in her house where she records. She can edit. We auditioned for a commercial for a drug store in Florida, but didn’t get it. We were one of two they were deciding on to do the commercial.

But Vanessa does voiceovers here, there and everywhere. You’ll hear her voice and see her face. She did the promos for Big Brother for CBS all during the summer. She did Dog in the City for CBS. She does promos, she does commercials, she does animation. She’s everywhere, I mean everywhere. She did an American Express thing that I think should go in the time capsule. It’s elegant and clean and she’s amazing. That’s her own world and her own realm and she evolved and created that and I’m so proud of her. She should in fact have chased the actress part, because she’s a brilliant actress.

We did a show together, Stardust, and she wipes me off the stage.

COA: Any plans to retire? I think I know the answer, but I’ll ask anyway.

JVA: There’s no such word for an actor.

COA: What’s your idea of a perfect day?

JVA: That’s a beautiful question. I guess sleeping late, which I always do, and doing a long run with clean air, and then having whatever the hell I want for dinner—Italian, probably Italian.

COA: Is there anything else you’d like to mention?

JVA: I just think, you know, basically the word “senior” or “ma’am” or “matron” are just the

Joan with Larry Hagman

worst words in the English language. I just want to kick people in the groin when they say that.

But when it’s in the South, it’s more of a respect thing. I want to say, while still being positive, that aging sucks. But these days, there’s so many magnificent ways to just stay full and happy and productive, and there’s no such thing as aging as a downer. This couldn’t be a better time for everything to be as much as you want it to be. I think there’s more. There’s just more, more, more. It’s not a descending thing, unless you allow it to be that. Stay positive and have a sense of humor. We all, for whatever reason, tend to get down. But there’s little things you can do that remind you of who you really are and you got to honor that and respect that and attribute yourself so you keep yourself up.

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