On Wednesday, it was announced that Megan Mullally had abruptly quit the upcoming Roundabout Theatre Company production of Terrence McNally’s Lips Together, Teeth Apart. No reason was given, although it initially appeared to stem from conflict between the star and the show’s director, Joe Mantello.
On Thursday, the Roundabout announced that it was cancelling the production altogether. And then, the real story started to emerge.
Let me back up for a second to preface this. I have never been a huge fan of Terrence McNally. Not because he’s not a brilliant writer; it’s just that he doesn’t really write to my sensibilities. Personally, I’m more of a David Mamet or Martin McDonagh type of guy. However, I have honestly and truly been looking forward to this revival ever since the casting was first announced. For one simple reason. Patton Oswalt was cast in the role of Sam Truman.
Patton Oswalt is one of the five funniest, and smartest, stand-up comedians of the last twenty years. And, like practically every other stand-up before him, he has become increasingly more visible in mainstream acting roles. His transition started with the expected appearances on television sitcoms like King of Queens, but lately, he has been landing work in feature films (he was the voice of Remy in Ratatouille), including a leading role in the movie Big Fan – a flawed but ultimately satisfying independent film. Lips Together, Teeth Apart was to have been his New York theatrical debut.
Megan Mullally, of course, is a household name by this point. She was one of the stars of TV’s Will and Grace, and has been seen on Broadway in such shows as Young Frankenstein and How to Succeed in Business Without Really Trying.
When Mullally quit rehearsals on Wednesday, the Roundabout’s Artistic Director, Todd Haimes, issued the following statement: “We were surprised and disappointed that Megan Mullally had to withdraw from the production immediately in breach of her contract.”
Author Terrence McNally phrased it thusly: “Joe [Mantello] is my longest and one of my most trusted collaborators… Megan Mullally’s decision to withdraw at this late date is devastating.” (Previews were to have begun April 9.)
Not a lot of ambiguity there as to where the blame is being placed.
Then, after the production was scrapped on Thursday (“postponed” in the parlance of the Roundabout), the New York Times cited four different sources familiar with the situation saying that Mullally quit over frustration with the “inexperience” of co-star Patton Oswalt. In fact, she tried to have him replaced. And, when director Mantello refused to do so, Mullally quit.
And so, young actors… What we’re left with is the perfect cautionary tale for you to learn how, when faced with a similar situation, to not behave like a giant horse’s ass.
Our job as actors is very straightforward. We are storytellers, plain and simple. I know you want to believe that our job description includes going to club openings, punching paparazzi in the face, and being waited on like an infant. But, it really doesn’t. Our job is to interpret the words on the page in order to physicalize one specific portion of the story for the benefit of an audience. And, that’s really it. And, if you do it correctly, the audience’s reaction to your work won’t be about whether anyone “liked” it, or your ego; it will be about whether or not you did your job correctly.
So, now, let’s say you’re in a show where you feel a fellow performer isn’t holding up his end of the bargain. Guess what? That’s not your job. It’s their job. It is also the director’s job to fix it (if, in fact, it needs fixing). When you start trying to alter someone else’s performance, you’re not being an actor. Besides, if the director doesn’t seem to be worried, why are you? After all, this is a subjective medium. Maybe that actor is running circles around your performance, but you just can’t see it because your interpretation of the role differs from theirs. Again, it’s not your place to worry about it. Show up, do your work, and keep your mouth shut. If you’re right, the critics will ultimately prove your point, and you will look even better by comparison.
As for the specific scenario at hand, the more consummate professional appears to be Patton Oswalt every day of the week and twice on Sunday. And Megan Mullally appears to be an actor who needs to shut her flippin’ piehole and stop causing problems.
Remember, of course, that this is not the first time Mullally has done this. In April of 2002, she left a production of He Hunts at the Geffen Playhouse shortly before previews began.
Hopefully, producers will start noticing the pattern one of these days and stop casting her altogether.
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