When asked about his casting process for his latest theatrical production, What We Did Before Our Moth Days, Wallace Shawn responds with a knowing smile, stating, “Well, I think that’s a secret. I don’t think I’ll tell you.” This polite yet firm response establishes a boundary, revealing the ease with which the charming 82-year-old navigates such inquiries.
On a cloudy Wednesday afternoon, we find ourselves at a restaurant located above the trendy Metrograph cinema in Manhattan, where patrons are arriving ahead of a film retrospective celebrating his work. Engaging with Shawn feels like entering a realm of perpetual curiosity, marked by an amused acknowledgment of his surroundings. When offered a Twix bar by the cinema’s publicist, he tilts his head in curiosity but graciously accepts it, later opting for popcorn instead when presented with additional snack choices.
Shawn, a New York native and a prominent figure in theater since the late 1960s, has made a name for himself through memorable performances in films like The Princess Bride and Marriage Story. His film career began with Woody Allen’s 1979 Manhattan, followed by roles in notable films such as Bob Fosse’s All That Jazz and Alan J. Pakula’s Starting Over. He is perhaps best known for his leading roles in My Dinner with Andre and Vanya on 42nd Street, both of which he co-created with his long-time collaborator, André Gregory. Shawn describes acting as a remarkable endeavor, noting that while actors may appear relatable, their craft is not as easily replicated by others.
This statement is intriguing coming from someone with over 200 film credits. However, Shawn has been challenging himself this spring by restaging his powerful 1990 monologue, The Fever, on the nights when Moth Days is not performed. I witnessed his compelling performance of The Fever just two nights before our interview, where he was met with enthusiastic applause. He humorously requested sympathy in case he needed to refer to his script and acknowledged the lengthy duration of the piece, assuring the audience that it wouldn’t exceed two hours. Remarkably, he delivered a riveting exploration of capitalism and moral decay without needing the script, maintaining a high level of intensity throughout the performance. “That’s a physical feat which is at the absolute limit of my ability,” he reflects, expressing surprise at his endurance.
Despite his successful collaborations with Gregory, Shawn expresses disappointment that his talent for playing comedic side characters in productions like Clueless and Gossip Girl has not led to more substantial roles. “I don’t think the returns are in,” he muses, suggesting that many may not recognize his acting capabilities, which results in a lack of diverse casting opportunities. He reflects on his role in Young Sheldon, stating, “They cast me in that part and I acquitted myself. I don’t think they made a terrible mistake.”
Film enthusiasts hold Shawn in high regard. Earlier that day, I accompanied him to a local gallery, Posteritati, where he signed film posters. The entire staff, including those not working that day, gathered to meet him. When told of their admiration, Shawn humbly dismissed their compliments. He expressed his delight at seeing an original poster for My Dinner with Andre and jokingly inquired whether signing a postcard for Toy Story 2, where he voiced a toy dinosaur, would diminish its value. When the staff praised his work in Jonathan Demme’s A Master Builder, which he adapted from Ibsen’s play, he pointed out its lackluster box office performance.
Financial stability came to Shawn in his late thirties. “I began to understand that I could make money by being a funny actor,” he shares. “I was quite delighted to find that, even though my [stage] writing was not appealing to a large number of people, my acting apparently could be.” This realization allowed him to pursue unique writing projects without compromising his artistic vision, leading to the creation of 17 distinctive plays, including adaptations of Machiavelli’s The Mandrake and The Threepenny Opera, which marks his only Broadway credit.
Moth Days, his most recent work, represents a primal return to themes he explores. The play, structured as a series of direct addresses to the audience, features four characters—a father, his son, the father’s wife, and his lover—navigating the impact of the father’s affair on their lives as they confront their own mortality. Performed by Hope Davis, Maria Dizzia, John Early, and Josh Hamilton, the play offers a poignant yet darkly satirical examination of grief within a privileged family. Shawn draws parallels to his own life, as his father, William, served as the editor-in-chief of the New Yorker for over three decades while engaging in a long-term affair with writer Lillian Ross.
Shawn notes that he never approaches writing with a predetermined outcome, and regarding the inspiration for Moth Days, he refers to the “absolutely true and well-documented” aspects of his life. When asked if he had heard Barbra Streisand’s rationale for avoiding therapy—“I’m not that interested in myself”—Shawn laughs and admits he hasn’t. “I think she doesn’t care, perhaps, why she behaves the way she does. It’s never gotten in her way. I understand it.”
Shawn tends to keep his motivations private. “It’s about being self-protective,” he explains, noting that he has avoided psychedelic drugs and psychotherapy for similar reasons. This self-preservation adds an unexpected depth to the often caustic, hallucinatory experiences depicted in The Fever. He describes the monologue as “a very frank assessment of the role of that class of America…”
