Nathan Lane humorously reflects on his brief intermission during the lengthy performance of “Death of a Salesman,” describing it as a quick routine that involves a bathroom break, a cup of tea, and donning his jacket before returning to the stage. This light-hearted comment encapsulates his character’s struggle in the nearly three-hour play, which depicts the profound depression of Willy Loman, a man grappling with the collapse of his dreams. At a cozy table in Cafe Luxembourg, a historic venue on New York’s Upper West Side, Lane is in high spirits when asked if this is his first time performing at the Winter Garden Theatre. He promptly recalls, “Yes, except for when I took over in Mame.”
With a charismatic presence honed over a remarkable 50-year career, Lane has delivered award-winning performances that span from his off-Broadway origins to a Tony-nominated role in the 1992 revival of “Guys and Dolls.” His vibrant portrayals in films like “The Birdcage” and “The Producers,” along with memorable guest appearances in shows such as “30 Rock” and “Sex and the City,” have solidified his status as a beloved figure in both comedy and drama. However, the role of Willy Loman presents a unique challenge; it demands a deep dive into the unraveling of an ordinary family and the tragic disillusionment of the American dream. As Lane notes, even a man with a knack for humor has limits.
“It has taken me this long to feel deserving of this role,” Lane admits, now at 70 years old. “I’m managing to perform eight shows a week without collapsing.” Despite the prestige associated with Loman, the role is notoriously demanding, having posed challenges for esteemed actors like Dustin Hoffman and Philip Seymour Hoffman due to its emotional weight. Lane expresses the isolating nature of the character’s struggles: “It’s difficult to articulate unless you’re in the thick of it. No one truly understands.”
For Lane, “Death of a Salesman” holds personal resonance. He recalls being captivated by Lee J. Cobb’s performance during a televised broadcast in 1966, while his peers were engrossed in lighter fare. This early interest in Arthur Miller’s critique of capitalism foreshadowed his theatrical aspirations and took on a more profound significance a year later when he experienced the loss of his father, who succumbed to alcoholism.
Lane’s portrayal of Willy Loman is striking, drawing on his own experiences as a performer. Like Loman, he navigates the tension between maintaining an optimistic facade and confronting the reality that his audience may no longer be engaged. He acknowledges the legacy left by previous actors in the role, referencing Cobb’s portrayal, Hoffman’s intense interpretation, and Dennehy’s complex performance, allowing spectators to form their own interpretations of his rendition.
This production marks a significant collaboration between Lane, director Joe Mantello, and producer Scott Rudin, who is making a return to Broadway after a hiatus following accusations of workplace bullying. Lane candidly admits to initially fearing the intimate nature of the play and the commercial pressures of filling the 1,600-seat Winter Garden Theatre. However, he finds solace in the fact that ticket prices are more accessible now.
“Since I’m not George Clooney, they aren’t charging $900,” he jokes, alluding to the exorbitant ticket prices during Clooney’s stint in a previous production. “For that price, I’d personally come to your home and perform selections from the play.”
Lane’s star power and sharp wit remain undiminished. As he discusses an upcoming film featuring Jonah Hill and Kristen Wiig, he playfully responds to an overheard compliment from another table, pretending to address the speaker with gratitude. This moment of spontaneity later becomes even more serendipitous when the individual actually commends his work as they leave, creating a perfect comedic callback.
Although Lane is revered primarily as a theatrical icon, his impact on Hollywood is noteworthy. His voice work as Timon in Disney’s “The Lion King” in 1994 earned him widespread recognition, and co-starring with Robin Williams in the 1996 comedy “The Birdcage” propelled him to mainstream fame. This role also compelled him to navigate the complexities of public visibility regarding his sexuality, particularly as he portrayed a drag queen. A memorable moment from an appearance on “The Oprah Winfrey Show” captures his discomfort when questioned about being typecast as gay, a question he was unprepared to engage with at the time, though Williams adeptly redirected the discussion.
Reflecting on that era, Lane acknowledges that while his sexuality wasn’t hidden among friends, he was hesitant to publicly embrace it. “Back then, you might as well have said, ‘And by the way, I love men,’” he quips. “But I wasn’t ready; I didn’t have the courage. I was a character actor, not expecting to become a leading man.” He ultimately came out in a 1999 interview with the Advocate, marking a significant step in his personal and professional journey.
