In between filming seasons of Hacks, Jean Smart has returned to her homebase: the theater.
Actress who has garnered three Emmys for her portrayal of comedian Deborah Vance, now a late-night host on HBO Max, is headlining the one-woman show “Call Me Izzy” at Studio 54 this summer. This production signifies her first Broadway appearance since 2000, when she starred alongside Nathan Lane in “The Man Who Came to Dinner “, however, her career took off in regional and Off-Broadway theaters initially.
Under the title Call Me Izzy, penned by Jamie Wax, will make its debut on June 12th. In this production, Smart takes on the role of the main character, a woman residing in rural Louisiana, who harbors a passion for writing but is constrained by her husband.
For two years, Smart has been an integral part of the production, participating in four readings of the script. Her selection for the role was undeniable due to her remarkable emotional openness and relatability, along with her finesse in engaging the audience, whom director Sarna Lapine affectionately terms as her “co-actors” in the play.
Lapine pointed out that her ability to create intricate characters contributes to her power as a conduit, since she crafts them with great precision yet invites others into the process, providing the audience with an intimate view of the various aspects of the character’s experiences.
During the rehearsal phase of the play, where Smart was juggling a changing script and taking time to greet fans waiting at the stage door, the star of Hacks opened up to The Hollywood Reporter about performing a solo show and not knowing what’s coming next for Deborah Vance.
Had returning to Broadway been on your radar?
Indeed, I had a conversation with the esteemed, now-departed Todd Haimes from Roundabout Theatre about staging a play. I made an appearance a few years ago and presented a reading. Additionally, Stephen Sondheim extended an offer for a play to me. I traveled and auditioned for him for one of his musicals. Eventually, he offered it to me, but I declined.
Why did you say no?
Reflecting on that experience, I consider it among my major career regrets. I probably shouldn’t have auditioned if I wasn’t fully committed to it due to the numerous family obligations I had at the time. Additionally, I believe a part of me was fearful and uncertain, which might have contributed to my decision. Performing on Broadway is quite different from singing, and I think that added to my apprehension.
Are you a singer?
Once upon a time, I was quite skilled at singing, but sadly, I’ve let my vocal abilities lapse. Recently, I’ve begun voice lessons once more as I have a deep passion for music. If given the chance, I would give anything to play the role of Adelaide. Should any production consider a senior adaptation of “Guys and Dolls”, I’m ready and eager. My longest potential stage engagement could be with Adelaide and Nathan! For years, I’ve dreamt of playing Eliza Doolittle, but alas, that opportunity has passed me by. Regrettably, due to aging, I find myself excluded from many musical roles.
So why return with this play?
I’ve become utterly smitten with this character; it’s an exceptional piece of writing that captivated me. The blend I sought was precisely this character, whom I adore so deeply. I encountered it a couple of years back when my agent forwarded it to me, and ever since, I’ve been attempting to decipher how I might recreate it. At last, the timing seemed perfect—my children consented to join me in New York for the summer, and I arranged for a dog sitter and a house sitter back home in L.A. I simply asked myself, “If not now, then when?
Were you nervous about it being a one-woman show?
Absolutely, I’m still feeling a bit jittery. Give me a call in a couple of weeks, and hopefully, I’ll be less anxious. To be honest, even though I can memorize lines quickly, it’s not as effortless as it once was. I reached out to Holland Taylor [the playwright and star] for advice, asking her if she had any tips or secrets. She suggested taking a nap after the matinee show before the evening performance. I thought that was wise advice, and I plan on following it.
In the course of the performance, your role requires you to gaze towards the spectators and engage with them. Can you share the reasoning behind this choice in the script?
The convention around the play is wondrous for her. In a way, it seems as if she visualizes her spectators since her life is solitary and secluded. She essentially summons an audience. For she argues, if you compose something but no one ever reads it, does it truly have existence? Am I real? Thus, she summons an audience partly due to loneliness and partly because she yearns to express herself. She deeply desires to share her writing, yet is unable in her relationship.
“Had you never performed in a solo production before? And aside from that, does it seem unusual to be performing on Broadway again this occasion?”
“Apart from the fact that you hadn’t done a one-person show previously, does being back on Broadway feel different to you this time around?”
“Given that your experience doesn’t include a solo performance, how does it feel returning to Broadway for this production?”
“Since your background lacks a one-person show, is it a new experience being on Broadway once more with this production?”
“You’ve never performed in a solo play before, so what makes this return to Broadway distinct from previous experiences?”
I suppose you could say I don’t have fellow cast members to socialize with, but that’s not entirely accurate. Being here is more about the familiarity and comfort I find, given my extensive history on stage during the early stages of my career. It feels akin to being at home.
Do you experience any sense of pressure following the success of “Hacks,” as audiences might anticipate a performance similar to Deborah Vance’s?
It’s likely that people may feel let down if they were anticipating the presence of Deborah Vance, as this person seems to be quite different from her.
You said you haven’t asked the writers about what happens to Deborah in season 5. Why not?
As a dedicated fan, I can’t help but admire the skill of these writers. It’s fascinating how making a series differs from creating a movie. In a series, you never truly know what lies ahead, which mirrors the unpredictability of real life. None of us can predict tomorrow. On the other hand, a movie follows a script with a clear beginning, middle, and end, so you’re aware of the journey beforehand. As an actor in a series, it’s crucial not to give away the series’ climax too soon. Instead, a series is constantly evolving, never remaining exactly as you initially perceive it. The most challenging aspect of acting in a series is striking a balance between defining my character with utmost specificity and yet leaving room for adaptation. I need to be clear about who my character is, but also be open to change should the storyline demand it six months or a year down the line. This delicate dance requires both precision and flexibility.
How do you strike that balance?
I’m unsure about other characters or scripts, but with Deborah Vance from the initial script, it seemed like everything was already there for me. I knew exactly how to approach her character, and it offered everything I could have wished for – a mix of humor and emotion. Since I admired Phyllis Diller when I was 12, the opportunity to perform stand-up comedy felt impossible to resist, as it seemed to fulfill all my expectations.
As a gamer, experiencing this season’s intense rivalry between Deborah and Ava has been quite immersive. I found myself caught in the heat of their conflicts, which seemed more intense than ever before. Playing their parts has added an extra layer of excitement to the game!
Previously, performing unpleasant actions towards her left me feeling uncomfortable. Now, however, it seems more like an amusing pastime.
Additionally, we notice Ava confronting Deborah about her reliability. What do you think about this situation?
Deborah strives to express her true intentions in her words. However, it’s important to note that she isn’t intentionally dishonest; rather, she aims for sincerity. Unfortunately, things don’t always go as planned.
In a simpler way: Deborah tries hard to speak honestly, but sometimes she gets things wrong.
Are you considering any future projects or positions, perhaps outside of Hacks or even beyond it?
I’m eager to return to Broadway at an early opportunity, and I’m excited for a time when I can simply relax and do nothing at all.
How would you assess your professional journey over the last few years, encompassing your roles in “Mare of Easttown,” “Hacks,” and now on Broadway?
I’m finding it hard to interpret this situation. It’s been linked with some of the toughest experiences in my life, so I prefer not to attach any significance to it. Despite its oddity, particularly for women, I am extremely thankful and enjoying every moment of the diverse roles I’ve been given over the past few years. Truly astonishing!
I can’t explain it, just, I’m a late bloomer, always have been.
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2025-06-12 15:25