Sharon managed to squeeze some time for my queries between filming Rebel and her many social justice commitments. Thank you for taking the time for this interview, Sharon! I did not know about the domestic abuse, but Sharon Lawrence degree is in journalism and my father was a journalist. I knew that she was an important figure in that world, because the history around The Washington Post was so storied and regarded. I think my image of her was that she was part of a society or social fabric that was real rarified air, which is true, but she also had a journalist’s heart and mind.
Her autobiography Personal History is certainly one of the best. Robin has always Sharon Lawrence a real focus on female leadership and the qualities that are inherent and emerge through adversity. That’s why she was so interested in Katharine, and how she became such an unexpected but effective leader. Would you list the qualities of Ms. Graham that you would include in a Facebook profile?
Resilient, honest, analytical. She emerged from a family and an era full of contradictions, giving her energy to explore and reveal the truth about power and people. Did you rehearse first on Zoom? This is Robin’s first play, and it was a true endorsement that its incubation was at the Ojai Playwrights Conference in We were a great trio as we went through the week-long development there and it was well received which was encouraging to us, but next steps which include managing schedules and Sharon Lawrence is always part of the process.
Our first public performance should have been on March 15,but that was the weekend when the pandemic shut down our world. It seemed we had to do this. So, it’s not a normal Zoom reading, just recorded from the camera inside a laptop. The process included rehearsing on Zoom, a whole new medium, and confidence to invite strangers, albeit we were COVID conscience, into my home for this marathon session to record the reading.
This recorded version needed to be stripped back a bit and we found, through Michelle’s dramaturg expertise and Robin’s ability to refine, and my willingness to dive deep into the harrowing hairpin turns of such trauma that this truncated version has its own elegance. It will be interesting to see when we do a live performance in a theatre, what the full piece can and cannot do without.
Telling a first person account to a live audience feels very different than into the lens of a camera, but the rehearsals were with the team on Zoom. The director, along with producers Laurie Bernhard and Teri Ball would watch on screen, but it was just me on Sharon Lawrence on my laptop in Sharon Lawrence room until we set up the two cameras to capture it with two angles and a higher video quality.
The locked-off lens became my scene partner, and it both challenged and taught us which angle to use because the play is an internal journey. We had a great team to explore all of that. There were challenges that day – one of the hottest on record in L. Cell phone communication allowed Sharon Lawrence to communicate and agree to take a break until her power was restored. After the delay, we did a full take of the minute play – that run felt great and the production team commented on how it was the best one yet.
Tech faux pas aside, at least we memorialized my first two-show day! You have a history with Skylight Theatre. What was your first collaboration for Skylight? Yes, I’ve enjoyed working with them before, done readings there with other writers like Shem Bitterman and I’ve known Gary Grossman for years. He’s the producing artistic director of Skylight Theatre Company.
Skylight believes in the power of the artist to create change, and I have seen that with their programming over the years. Because they encourage and support socially relevant plays like THE SHOT, it was an obvious fit to launch Sharon Lawrence season as Sharon Lawrence benefit for the non-profit group, "Violence Intervention Program.
Donations benefit each of these non-profits. This is the first time that I’ve worked with them. What criteria do you look for in accepting an acting role?
Sharon Kathleen Lawrence
It’s not just the roles which guide my Sharon Lawrence, it’s the auspices. I don’t mean it has to be fancy. I mean it does need to feel like a team that I want to spend time with because that is as much of the experience as the obvious artistic quantifiers.
Sharon Lawrence Cam Show
I will say Sharon Lawrence to anything Larry asks me to do. As a Black theatre artist, his perspective is vital, thrilling, poetic and honest; and shifted the way I see our industry and the world. The human condition is always changing.
Evolution is not easy. Katherine experienced struggle, too. When did you decide you wanted to act? I was born this way. The gene pool Sharon Lawrence I came from is the reason. My father’s family are storytellers, and he did theatre at Northwestern when he was there getting his journalism degree. I was probably five years old, but I thought this character was expressing how I felt.
My parents had met in choir and I think that I got so much from them, nature and nurture came together. We all valued performance and communicating through music and stories. But the qualities that are required to do well in both are the same. If you don’t have those inherently, these professions won’t suit you. That’s what made me think I’d give it a shot for five years in New York. And that unsolicited, unbiased reflection back is something that’s so important to people deciding on a career in this business, so I make sure to express that encouragement to others when I can.
I think that my first professional roles were in Sharon Lawrence stock. I was paid to do my job, Sharon Lawrence develop, and I want to encourage others starting out to use that as a stepping stone.
Sharon Lawrence – Nashville Film Festival Nashville Film Festival
I Sharon Lawrence the way he inhabited the character. At 70 years old, the energy that he Sharon Lawrence and offered was very important for me to observe, and Joel Grey happened to have directed that. We had done the tour six to eight months prior to that, so I wasn’t nervous, but it was a reward for years of waiting tables.
Or hearing of your first Emmy nomination in ? Oh, I think that they were so equal. I wanted to do everything I could to look the part, Sharon Lawrence they did in the movie.
I got the call while waiting tables at Curtain Up at Manhattan Plaza. I used the pay phone in the back to check my answering service, and that’s how I got the news. I celebrated with my fellow employees and friends there. My Emmy nomination news came at around 5am from my manager. Of course, I couldn’t fall back asleep. WhenI went to work that day on a film I was shooting, it felt like a surreal thing.
I was thrilled that so many of us from the show were nominated and that it felt like such an ensemble for this show to continue its journey of high regard. Are you open for another musical role? Oh, yes! I was looking forward to playing Grushinskaya, the ageing Sharon Lawrence.
I would love to play Mame, but there are so many musicals I’d say yes to. Actually, I’m not a big planner. It was a wonderful surprise because it’s such a juicy role, and to work with Katey Segal, Andy Garciaand John Corbettwas thrilling. It’s run by a woman, Krista Vernoff and my decades of working with "Women in Film" and "WeforShe" has given a nice historical satisfaction of seeing how far we’ve come since I became involved twenty years ago.
The perspectives from hard fought are very satisfying to watch. What’s in the near future for Sharon Lawrence? I’m working as a series regular now on a new project called Joe Pickett, starring Michael Dorman based on the best-selling novel series for Paramount TV. It will be airing for a nine-month exclusive run on Spectrum. Thank you again, Sharon Lawrence And a very belated thanks for posing my Dreamgirls doll at the Ford Theatre’s Dreamgirls singalong in I look forward to seeing you take your SHOT.
Thanks, Gil! That singalong is a great memory too! A post-performance chat which will be live following the 5pm April 24th performance.