Paul Giamatti (Jimmy Tomorrow): When we first blocked the play, all the hookers had a tendency to want to sit with Jimmy Tomorrow - so I knew it was a good part. Aside from that, it has been an overwhelming pleasure. I've never worked with so many brilliant folks.
Stephen Singer (Hugo): Early in the rehearsal process, we were working on the first act. Howard Davies was dealing with parts of the act that did not involve me directly, but I had to remain at my table in the bar. Quite some time passed. Eventually, Howard apologized for leaving me unattended for so long a period of time. I said it was okay; I have to get used to it: Hugo sleeps on stage for about three-quarters of the play.
Skipp Sudduth (Chuck Morello): It is arguably the greatest ensemble drama ever written. I am only now beginning to understand the intensity of focus and concentration necessary to play it successfully. I was in the original London and Broadway casts of The Grapes of Wrath, so I know from great ensembles. This is a great ensemble, and has the potential to become over the next 12 weeks one of the best to ever grace a stage.
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Richard Riehle (Pat McGloin): You show up early for rehearsal - and you're not the only one. You look forward to coming to the theater every day for the chance to spend a little more time in this exciting environment, surrounded by all of these remarkable characters. An excellent example of the meaning of "ensemble" on every level: Wherever you look, on stage and off, and whenever you need it, you know you'll have all the support you could possibly hope for.
Dina Spybey (Pearl): It's wonderful to be part of this extremely talented ensemble. O'Neill has fully drawn 19 characters, each very specific, with a complete arc. Most playwrights these days never write for more than six characters at most. This is an epic work, not a star vehicle.
Ed Dixon (Piet Wetjoen): It was a lucky break for me that I did Cyrano on Broadway, since the entire production team was Dutch and had accidentally taught me the accent that I would need to play Piet Wetjoen. The night before my audition, I called Bill Van Dijk (Cyrano) in Amsterdam and had him give me a refresher course over the phone. I was working in Boston at the time and later found out that I was living next door to the building where Eugene O'Neill had died. To complete the coincidence, we rehearsed Iceman at the Neil Simon Theatre, where I had played Baker in - you guessed it - Cyrano.
Patrick Godfey (Cecil Lewis): Over a long time spent in the theater, there have been only two occasions when I've been involved in productions that I've felt have the capacity really to move an audience. The first was the RSC's Nicholas Nickleby (Broadway, 1980), and the other is The Iceman Cometh, another infinitely rewarding experience. It's also great for the complexion because we drink pints of water every performance.
Robert Sean Leonard (Don Parritt): I never thought I'd get the chance to play this part in New York. I never thought there would be a producer crazy enough to put this play on in New York. Thank goodness for Manny Azenberg. And God help him.
Tim Pigott-Smith (Larry Slade): It has been a rare and hugely pleasurable experience doing Iceman. It's a great play, a great set, a great director, a great star, great costumes, great lighting, great music, great performances. As Larry, says to Jimmy Tomorrow, "What more do you want?"
Driving Mr. Spacey!: The positively untrue life and times of Kevin Spacey,
with a few real facts thrown in for fun.
All collages and photo enhancements were done by me using Microsoft® Picture It!® 99
