![]() I liked that I was I wasn’t sure I liked her I wasn’t sure how I felt about her. MOL: Yeah, that was what was interesting. She hasn’t resolved a lot of the things she dealt with as a teenager in a very kind of haphazard way.īROWN: What was your first impression of Larissa? As an audience member, your never really sure whether you can-or are even supposed to feel like you can-trust her. But the character’s been so affected by her past, and she’s still kind of living her past. Sometimes you don’t really know why you do the things you do. It was certainly a puzzle that I knew I was going to have to figure out and try to find the answers to-sometimes I feel like I have to be comfortable not knowing everything. ![]() I just knew it would be a huge challenge, and I was really intrigued by Francine’s writing. It was the kind of thing I couldn’t really say no to I had never really had this opportunity before, to carry a show where I’m on stage for the whole hour and a half, I don’t really close my mouth very much. MOL: I read the script and was super intrigued by it. I think that’s the best way to see things, especially this kind of play where there’s no pyrotechnics, it’s literally just people talking.īROWN: Can you tell me a little bit about how you got involved? It was in the round, it was just super, super intimate there, too. It was at the Almeida Theater, but it was this temporary space that they were using, this bus depot. MOL: Probably, although when I did The Shape of Things in London, we were at a temporary space. ![]() It’s not like a lot of spaces that I’ve been to.īROWN: Is it the smallest theater that you’ve performed in? You just have to keep your concentration. It’s a little rough when you have a heavy breather in the front row, because they’re practically on stage with you. Definitely the lights are out, and I feel like I can look out and see an audience, but not see them specifically. īROWN: Does it feel intimate wen you’re performing? Or is it just like any other space once the lights go out? ![]() GRETCHEN MOL: It’s pretty intimate, right? I know I’d seen plays there, at Theatre Row, but I’m not sure I’d ever been in that particular. We recently spoke with Gretchen about her first impression of Larissa, and whether she is as dangerous as Gillian.ĮMMA BROWN: I had never been to The Acorn Theatre before. She also played Roxie Hart in the Broadway musical Chicago (2004). Produced by the New Group and directed by Scott Elliott, the thriller is Mol’s second off-Broadway production following Neil LaBute’s The Shape of Things (2001) with Paul Rudd and Rachel Weiss. As four men weave in and out of Larissa’s living room, the audience is never sure whether Larissa is a victim, a perpetrator, or neither. Larissa, Mol’s role in Francine Volpe’s new play, The Good Mother, is one of these uncertain characters, an unreliable protagonist. Perhaps it is her distinctive voice, which is at once soft, reassuring, and commanding. Something about the actress lends itself perfectly to playing enigmatic roles-the sort of women who oscillate between vulnerable damsels in distress and calculating damsels causing distress. PHOTO BY CHRISTOPHER GABELLO.Īs Gillian Darmody, the steely madam in Boardwalk Empire, Gretchen Mol is terrifying and entrancing. ABOVE: GRETCHEN MOL IN NEW YORK, NOVEMBER 2012.
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