Arts & Entertainment
Animal instinct
Rising star Sebastian Stan brings depth to gay role on Sigourney Weaver-helmed political family series
T.J. Hammond, played by Sebastian Stan, raises a glass to his family of ‘Political Animals’ in the new USA Network series. (Photo courtesy USA Network)
Being the first openly gay child of the “First Family,” would be pressure enough, but “Political Animals’” T.J. Hammond still can’t find peace now that his mother is the Secretary of State, and divorcing his father, the former President of the United States.
“I don’t know this personally, but one of the things I’ve tried to research is the idea of how do you exist in the world as an individual when your parents’ persona is constantly an umbrella over your identity,” says Sebastian Stan, who plays T.J. in the new USA network political drama which premiered this week about a former First Family coping with change in the years after the White House (It airs Sunday nights at 10).
While many young LGBT people T.J.’s age face pressure and depression, and may experiment with drugs and alcohol like the character, most don’t do so under the microscope of the media, with a mother — former First Lady Elaine Barrish played by Sigourney Weaver, whom Stan calls a “sweet soul” — in the cabinet of the incoming President.
T.J. copes with the pressure by acting out and pushing the envelope, much like another set of first kids, the Bush twins, whom Stan says T.J. may be able to relate to.
“Its like someone handing you the same plate of breakfast every day,” Stan tells the Blade, saying he doesn’t know personally what it would be like to be under such a microscope, but has tried to research extensively this complicated character. “’Well this is now my life, and this is what I gotta do.’ And you get bored. Its like, ‘Why? I want more? I want something else. I don’t want to be pigeonholed.’ And I think that maybe … you want to branch out, you want to be different, you want to do your thing, you don’t want to constantly have to live in the shadow of your parents, which is unfortunately what these characters are living under.”
Stan says that the show from acclaimed producers Greg Berlanti and Laurence Mark, which also stars Ellen Burstyn and James Wolk who plays T.J.’s twin brother, attempts to pull back a curtain on the private lives of these very public people.
“When these people go home, and they sit down at dinner, what do they talk about?” Stan says. “How are they with themselves?”
The character differs greatly from another gay character he played in a political family on NBC’s “Kings,” because, while the young prince Jack Benjamin was strong-willed, driven and knew what he wants, T.J., Stan says, is much more fragile and lost and feels that he’s been pigeonholed in a way that does not fit him, and he’s searching for escape.
“Someone says to you, ‘Guess what? You’re going to live in this box.’ And how do you deal with that?” Stan says, saying T.J. and his straight twin Douglass deal with the pressure in vastly different ways. “T.J. deals with it by numbing, as an alcoholic and a drug addict.”
Though T.J. has strong allies in the family like his grandmother Margaret, played by Burstyn, and his powerful mother, unlike the “Kings” character, T.J. has little control over his life, and Stan, who’s straight, wonders what the young son raised in the spotlight might do with the freedom that a life of anonymity might lend.
“Ultimately he’s just a character that’s trying to find himself and trying to be heard that’s desperately wanting to be loved … Does he have a choice, and if he had a choice, what would he do with it.”
Stan says working with veteran actress Sigourney Weaver is “phenomenal,” and that he’s grateful to share a set with the “Alien” star.
“She’s an incredibly generous person, as well as an actress,” he says. “A powerhouse … The level of etiquette and discipline and commanding the set that she brought on was absolutely awesome. Made everyone feel very special … You always knew when she was going to walk in. You felt her presence.”
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Theater
‘Inherit the Wind’ isn’t about science vs. religion, but the right to think
Holly Twyford on new role and importance of listening to different opinions
‘Inherit the Wind’
Through April 5
Arena Stage
1101 Sixth St., S.W.
Tickets start at $73
Arenastage.org
When “Inherit the Wind” premiered on Broadway in 1955 with a cast of 50, its fictional setting of Hillsboro, an obscure country town described as the buckle on the Bible Belt, was filled with townspeople. And now at Arena Stage, director Ryan Guzzo Purcell has somehow crowded Arena’s large Fichandler space with just 10 actors, five principals and a delightful ensemble of five playing multiple roles.
Inspired by the real-life Scopes Monkey Trial of 1925, Jerome Lawrence and Robert E. Lee’s fictionalized work pits intellectual freedom against McCarthyism via the imagined trial of Bertram Cates (Noah Plomgren), a Tennessee educator charged with teaching evolution. Drawn into the fracas are big shot lawyers, defense attorney Henry Drummond (Billy Eugene Jones), and conservative prosecutor, Matthew Harrison Brady (Dakin Matthew). On hand to cover the closely watched story is wisecracking city slicker and Baltimore reporter E.K. Horneck (played by nonbinary actor Alyssa Keegan).
Out actor Holly Twyford, a four-time Helen Hayes Award winner who has appeared in more than 80 Washington area plays, is part of the ensemble. In jeans and boots, she memorably plays Meeker, the bailiff at the Hillsboro courthouse and the jailer responsible for holding Cates in the days leading to his trial.
Twyford also plays Sillers, a slack jawed earnest employee at the local feed store who’s called to serve on the jury. And more importantly she plays Brady’s quietly strong wife Sarah whom he affectionately calls “Mother.”
When Twyford makes her memorable first entrance as Meeker, she’s wiping shaving cream from her face with a hand towel. With shades of Mayberry R.F.D., the jail is run casually. Meeker says Cates isn’t the criminal type, and he’s not.
“There’s a joke among actors,” says Twyford. “When an actor gets his shoes, they know who their character is. And it’s sort of true. When you put on boots, heels, or flip flops, there’s a different feeling, and you walk differently.”
Similarly, shares Twyford, it goes for clothes too: “When Mother slips a pink coat dress over her cowboy boots, dons a little hat and ties her scarf, or Meeker puts on his work shirt, I know where I am. And all of that is thanks to a remarkable wardrobe crew.
“Additionally, some of the ensemble characters are played broadly which is helpful to the actors and super identifying for the audience too.”
During intermission, an audience member loudly described the production as “a proper play” filled with beautifully written passages. And it’s true. Twyford agrees, adding “That’s all true, and it’s also been was fun for us to be a part of the Arena legacy as well. Arena took ‘Inherit the Wind’ to the Soviet Union in the early ‘70s when the respective governments did a cultural exchange. At the time, the iron curtain was very much in place, and they traveled with a play about a man with his own thoughts.”
When the ensemble was cast, actors didn’t know which tracts exactly they were going to play. “What came together was a cast, diverse in different ways. Some directors, including myself when I direct, are interested in assembling a cast that’s a good group. No time for egos. It’s more about who will make the best group to help me tell this story.”
At one point during rehearsal, ensemble members began to help one another with minor onstage costume changes, like jackets and hats: “We just started doing it and Ryan [Guzzo Purcell] picked up on it, saying things really began to come alive when we helped each other, so we went with that.”
“For me, it was reminiscent of ‘The Laramie Project’ [Ford’s Theatre in 2013] when we played five different parts and we’d help each other with a vest or jacket in a similar way. It worked so well then too,” says Twyford.
“Inherit the Wind” isn’t about science versus religion. It’s about the right to think, playwright Jerome Lawrrence has been quoted as saying. And it’s a quote that makes the play that much more relevant today.
Twford remembers a chat in a hair salon: “I was getting my hair cut and the woman next to me shared that she was tired of message plays. Understandably there are theater makers who believe that message plays are the point, while others think it’s all about entertainment. I feel like ‘Inherit the Wind’ sits in a nice place in the middle.”
She adds “the work is a creative way of showing different opinions and that, I think, is what we should be paying attention to right now. Clearly, it’s not right or wrong to express what you think.”
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‘Inherit the Wind’ isn’t about science vs. religion, but the right to think
