Laurie Metcalf’s remarkable acting journey, which has flourished over four decades, encompasses both comedy and drama across various platforms including television, film, and theater. Yet, there’s one aspiration that still eludes her.
“I’ve always dreamed of being in a musical,” Metcalf shares. “However, my vocal range is quite limited—only around seven notes. It would need to be an incredibly specific role. I’m not sure that’s in the cards for me just yet, but it would be exhilarating to be part of such a production.
“I’m going to start manifesting it,” she adds, her laughter resonating.
Currently, Metcalf is captivating audiences on Broadway during the preview performances of Samuel D. Hunter’s “Little Bear Ridge Road,” a poignant family drama highlighting her character’s reunion with her estranged nephew (Micah Stock). Set to officially open on October 30 at the Booth Theatre, this marks Metcalf’s seventh project alongside director Joe Mantello.
“I feel a bit exhausted, but this is where I thrive,” Metcalf, who has won Tonys in 2017 and 2018 for her performances in “A Doll’s House, Part 2” and “Three Tall Women,” reveals during a phone interview on a recent Friday. “We’ve completed two previews already, and I’m heading in for some notes this afternoon. We’re polishing our performance. This is my favorite place to be.”
Photo: Julieta Cervantes
“Little Bear Ridge Road” follows the recent release of “Monster: The Ed Gein Story,” a Netflix series in which Charlie Hunnam stars as the infamous serial killer Ed Gein, while Metcalf portrays his controlling and zealously religious mother, Augusta Gein. Without even seeing a script, Metcalf quickly agreed to the role after hearing the concept from co-creators Ryan Murphy and Ian Brennan.
This chapter of Murphy’s “Monster” series delves into Ed’s complex relationship with his mother and the possible implications of her abusive parenting on his brutal actions in the 1950s. “It’s a balance of nature and nurture, isn’t it?” Metcalf reflects. “I believe both aspects influenced him significantly.”
Among the series’ most intense scenes, Augusta reprimands Ed, who stands before her in the nude as a full-grown man. “There I am, seated and lecturing a grown man, but I viewed him as a child, still under my influence and manipulative care. It turned into a twisted teaching moment between a mother and son. While simplistic, it’s profoundly warped. Mentally, it was useful to perceive him that way.”
Metcalf commends director Max Winkler, stating, “Even given the heavy subject, the atmosphere during filming was surprisingly enjoyable. It’s hard to believe that work of such gravity could be pleasurable, but it was due to the collaborative environment. Max embraced spontaneous moments during takes, providing me with ideas to explore. I appreciated that creative freedom. Working on that set was a rewarding experience despite its dark themes.”
Following her work on “Monster”, and just before returning to Broadway, Metcalf completed another television project: the Netflix mob comedy “Big Mistakes” from creators Dan Levy and Rachel Sennott. The series focuses on two siblings (Levy and Taylor Ortega) ensnared in the underworld, with Metcalf portraying their mother.
“I read the pilot and immediately told my agent that I wanted in, 100%,” Metcalf enthuses. “It stood out to me as a unique single-camera, half-hour comedy experience.”
Relating to Metcalf, I mention my upbringing in a mob neighborhood in Queens, NY. “You’re gonna love this show,” she responds. “It’s incredibly funny and full of surprises. The audience will never predict what’s coming next.”
