I love all the wonderful Gotham fan art that continues to come in for my character of Mr. Penn. I am thrilled he touched a chord with so many people around the world. I will certainly miss playing him.
I especially love seeing the variety of styles our talented fans employ in their renderings of Mr. Penn. Today I’m sharing an absolutely adorable version of Mr. Penn from Instagram, with thanks to talented fan @shadonut. Lovable isn’t necessarily a word you could apply to many of the denizens of Gotham, but this artist has definitely captured the lovable side of Mr. Penn.
The Gotham table read for Episode 503 was as exciting as the first two. And filming the episode was intense. No Man’s Land is a deadly place. And Tze Chun’s surprise-filled script was a real killer. Plus, we filmed some scenes of this episode during one of the hottest weeks of 2018. But the cast and crew were all troupers (and the crew took such amazing care of the cast!). I think the resulting footage will be amazing to watch.
It was fantastic being with everyone again, on and off set. And I’m thrilled Rob Bailey directed this one. He directed me in one of my favorite episodes last season, Ep408. Rob directed Ep503 with full command of the epic drama unfolding, and at the same time such sensitivity for the quieter, heartbreaking moments. One scene was especially hard for Robin and me; when you see the episode you’ll have no trouble figuring out which one it was. Rob and our wonderful DP David Stockton were so considerate and respectful. I’m deeply grateful for that.
We had such an exciting, emotional time on set every day and night. It was so hard to say goodbye.
I have been so bowled over by the kindness and generous spirit of Gotham fans. And I continue to be humbled and delighted by their talent, as well. Have a look at this wonderful new rendering of my Mr. Penn character. It’s by Ana Godinho, and you can see more of her wonderful work here. I’m so tickled by this one that Ana has kindly agreed to let me use the image as a kind of logo on this website. I think it captures both Mr. Penn and me!
If you haven’t caught up with our current (and final) Gotham Season 5, the first two episodes are still available on Fox’s website. I’m in a few scenes of episode 501, the season premiere. And I also figure prominently in Episode 503, airing this Thursday, January 17th. It’s an intense, don’t-miss episode, trust me.
And stay tuned–I will have some more terrific examples of fan art to share!
Even while Gotham shooting was wrapping up, another cool project appeared. I was delighted when my beloved director buddy DJ Salisbury (who directed me in The Mystery of Edwin Drood last January) asked me to take part in a private staged reading of the new, immersive musical “cocktail” he’s creating with composer Andrew Gerle. It’s called Whisper Darkly, and it’s set in the era of the speakeasy. The score is full of great songs, and the story full of swell characters.
And the cast they assembled? Wow! For one thing, I was thrilled to be reunited with my Drood co-star (and roommate!) Peter Saide. The rest of the cast was made up of other Broadway and Regional all-stars, including: Catherine Porter, Khalifa White, Victoria Huston-Elem, Summerisa Bell Stevens, Ruby Lewis, Travis Kent, Corey Cott, Ian Coulter-Buford, Stephen Berger, and Angela Robinson. Music director was Jamie Schmidt, and Stage Manager was Michael Tosto. What an insanely talented group. It was all over in the blink of an eye, but I’m honored to have been a part of it.
The invited audience was delighted with the show, and I can’t wait to see where it goes next. Bravi!
Another fun (and top secret) project that came out at last in autumn of 2018 was the massive hit video game Red Dead Redemption II. I had great fun in my one day of motion-capture shooting; it’s such a fascinating process, and I can’t wait to do more! I only appear briefly in one segment as an ornery varmint (who, as it turns out, has a kind of connection with Mr. Penn, my character on Seasons 4 & 5 of Gotham!).
I am in awe of the creators of this game, which is already being hailed as a masterpiece of the genre. The visuals are simply breathtaking. I understand now why it took them seven years to create it! Bravo to all involved.
If you play the game and find my character, do me (and yourself) a favor, and don’t kill me off. Enjoy!
While my incredible experience with Gotham may have taken up a lot of psychic space in 2018, I did fit in a few other fun projects before the year ended.
One such project last autumn was a short TV comedy pilot called The Genius. I played Carlton McGibbons, the wealthy, well-meaning, and remarkably naive head of a certain benevolent arts institution. Desperate to find the next brilliant artist, Carlton sees a talentless nerd defacing the wall of a public building and mistakes him for the mysterious and famous street artist Banksy. And of course, wackiness ensues…!
My thanks to writer/director/producer Max Weissberg for including me in this fun project. Stay tuned.
In Spring 2018, Off-Broadway was electrified by Billie Piper’s astonishing and gut-wrenching performance in Simon Stone’s superb updating of Lorca’s tragedy Yerma. And this summer we had another all-too-limited run: the always-remarkable Carey Mulligan in Dennis Kelly’s truly devastating new solo play, Girls & Boys. But while Yerma ends with a loud bang, Girls & Boys closes with more of a terrifying whisper.
Alone onstage, Ms. Mulligan, guided by Lyndsey Turner’s sensitive direction, was a quiet force of nature. She related the initially amusing tale of how she met her husband–then slowly revealed what happened, many years and two children later, when her husband couldn’t deal with her becoming more successful than he was. The revenge he takes is unspeakably horrifying. But Ms. Mulligan, aided by Kelly’s delicate script and Turner’s humane direction, helped the audience get through what they knew is coming. And the statistics her character cited at the end are perhaps the most harrowing revelation of all. To know how many times a year these family crimes are committed–almost always by estranged ex-husbands–is to know that there is something seriously wrong with the way men are raised to live in this world. As Linda Loman says at the end of the great tragedy Death of a Salesman: Attention must be paid.
This was another hard-to-watch but utterly unforgettable theatrical event. My husband and I have been fans of Ms. Mulligan since seeing the now-classic Doctor Who episode “Blink,” and Ms. Mulligan’s work onstage is every bit as human and honest and vulnerable as her work on large and small screens. If you missed the Off-Broadway run, it was produced by Audible.com, and there is an audio version of Ms. Mulligan’s performance available as well. Be prepared; it’s not an easy story to sit through, and it will likely leave you deeply shaken. But it is beautifully done, and the message needs to be heard around the globe.
When the Fox network made the decision to order only 10 episodes of Gotham instead of the expected full 22-episode season, and when they further announced this would be the show’s final season, I was heartbroken, along with Gotham fans around the world. I knew the producers and writers had planned all along for seven full 22-episode seasons to tell the origin story of Batman and his many villainous foes.
But Executive Producers Danny Cannon and Bruno Heller, along with all the producers and writers, have taken this adversity as a final challenge. After pushing the envelope for four solid seasons, they are holding nothing back with their 10 “grand finale” episodes.
John Stephens wrote the Season 5 premiere, Year Zero, and it is simply incredible. The storytelling is complex, dark, surprising, and intense. And it sets the stage for some astonishing scenes to come. Danny Cannon directed the episode; this was my third episode working with Danny, and once again a pure joy. We all worked hard and efficiently, but we had a great time, too. Danny’s knowledge of every aspect of every lens, every angle, and every nuance of a performance–and his ability to communicate exactly what he wants in a few words–makes it fantastic to be on set with him. Listening to Danny talk with his team about the finer points of lens work and framing has been an education in itself (but then, look at his beautiful photographs on Instagram–this man knows framing and color and light). I am grateful for every moment on this set–and in case you’re wondering, the spirit on set is great. Episode 501 was Danny’s last Gotham directing gig. That can’t be easy for him, given how much he loves this show. I can’t even imagine. We should all salute him for the world he helped create and define. Thank you, Danny.
It’s a shame Fox can’t appreciate just how extraordinary Gotham is. And it’s astonishing to me that another network hasn’t already stepped in to snap up the show and continue it through its intended seven seasons. The television world will be much poorer when the inspired insanity of Gotham is no longer on the air. And forget the outdated Nielsen rating system; advertisers will find themselves desperately wishing they could align with a genuinely original and hip show like Gotham once it’s gone.
I am honored to have been invited back to make an appearance in Season 5. And I promise Gotham fans this: Danny and the entire team are going out all guns blazing. Literally.
Fasten your seatbelts, Gotham fans. This last season is going to be EPIC.
In 2017, as part of the superb Writing the Rockies conference, I directed a staged reading of Act I of the new opera-in-progress Lottie Silks by librettist Enid Holden and composer Justus (Jay) Parrotta. This year, I worked extensively with Enid on revisions to the libretto for Act II, to deepen the characterizations, simplify the storytelling, and heighten the conflict. Her rewrites were excellent, and Jay was a superstar at reworking the score to align with all our changes.
The resulting workshop performance of Act II brought tears to the eyes of many in our audience–a good sign for a tragic opera! This piece is actually set in Gunnison, Colorado inspired by Enid’s house (which was once an 1800’s “dance parlor”), and the story is based on real (and heartbreaking) events.
My thanks to terrific accompanist/coach Sarah Holtan Stai (not pictured) and to our entire fantastic cast, many of whom joined us through special arrangement with the venerable Central City Opera. Pictured here Left to Right at our after-party are: me, Paige Sentianin, Margaret Siegrist, Adam Ewing, Clara Nieman, Joshua Zabatta, Composer Jay Parrotta, Librettist Enid Holden, and Jason Baldwin. The performance these singers gave, both in terms of musicality and honest theatricality, was nothing short of amazing given the two days of rehearsal we had together. They literally gave me goosebumps and made me cry. That’s not easy to do. Bravi!!
Audience response to Lottie Silks has been extremely positive. Next up: Enid and I will rework Act I and parts of Act II based on feedback, and prepare the entire piece for presentation in Washington, D.C. in 2020. I can’t wait.
The Opera Workshop at WSCU is, to my knowledge, the only program in the U.S. dedicated to originating new operas through development of libretti from within the university’s Creative Writing graduate program. We believe the focus on strong lyrical storytelling makes for more compelling opera, and gives the composer that much more inspiration.