By Michael Buckley
16 Sep 2006

For those only familiar with Heather Goldenhersh in her Theatre World-winning and Tony-nominated performance as Sister James in John Patrick Shanley's Doubt — have they got a treat in store.

She's very touching, wonderfully funny and possesses an endearing Judy Holliday quality. (The scene in the pilot where she defends Jason Ritter's actions to his fiancée is very Holliday-esque.) I ask if anyone's ever mentioned the similarity. "Yes, the first was a teacher at Juilliard. In Doubt I had her picture in my dressing room. I've read that she was like a goddam genius. I wish I could channel a thimbleful [of Holliday]."

Casting director Bruce Newberg saw Goldenhersh in Doubt. "He said that he knew Lina [her 'Class' character] was hiding underneath that habit. He said, 'You had me at the first Hail, Mary.' Heather views Lina as "the 'Energizer Bunny.' She finds creative ways to keep moving. They call her 'the optimist.' I like to think of her as that 'Monty Python' guy in 'The Holy Grail' — he keeps having body parts cut off, but keeps dancing.

"My favorite thing about the pilot is . . . [the way Jesse's character is introduced, which we can't reveal]. The writers find the humor in [some dark corners]. One of the episodes involves a hurricane. I love Jesse! And I love working with Jesse, and I love our characters."

Like her cohort, Goldenhersh is "still getting into this environment. You have to lobotomize yourself to the fact that you're trying to be funny. I haven't quite found the playfulness. In theatre, you never go for the laugh; that's a side effect. Here, we put on a mini-play each week, and the goal is to get the laugh. It's a pass-fail. It's like dancing in front of a firing squad: 'Laugh, or else!' I do feel vulnerable.

"Our rehearsals are watched. In theatre, you wouldn't have somebody watch rehearsals until two weeks into it. The first day, you're trying to get the jokes to work, and it's hard not to take [the scrutiny] personally.

"Still, it's a great experience." She doesn't have to keep dialogue fresh, as in the theatre. "There's new material every week. It's like a Christmas surprise. 'What's going to be in the box this week?' And I love the yin-yang aspect of the sisterhood. My character's optimistic; Kat [Lizzy Caplan] is pessimistic."

Chicago-born, St. Louis-raised Goldenhersh is "homesick for New York," where she's lived since graduation. She enjoyed her Doubt experience. "There can't be anybody more elegant and gracious than Cherry Jones. She's the most-revered actress on Broadway. There can't be a more down-to-earth, cooler woman. I was so honored to be with her and Brían O'Byrne and Adriane Lenox."

While her "most fun" stage role was as a dominatrix in the 2001 Playwrights Horizons production of Psych ("I got to wear eight-inch heels and mid-thigh, patent-leather boots"), the part, thus far, that has given Goldenhersh the most satisfaction is a 1999 Playwrights Horizons drama, Richard Nelson's Goodnight Children Everywhere. "It was the first role that I felt used my dark side and my funny side." Ben Brantley's New York Times review stated, "Ms. Goldenhersh's vividly realized Vi, an aspiring actress, combines a teen-ager's rambunctiousness with a worldly perspective that is already sliding into weariness."

Coming back to Judy Holliday, I ask which of her films Heather has seen. "After the teacher said I reminded him of her, I watched 'Born Yesterday' and 'Solid Gold Cadillac.' I want to see more." I recommend "Bells Are Ringing," saying that it's the movie version of the musical for which Holliday won the Tony — over Julie Andrews in My Fair Lady and Ethel Merman in Happy Hunting. "Holy sh**! I had no idea. I'm going to rent that movie right now." I suggest that she also rent "Adam's Rib," the film that first drew attention to Holliday.

Her real name, I mention, was Tuvim, the Hebrew word for holiday. An amazed Goldenhersh exclaims, "She was Jewish! No way! Oh, my God! I once thought of changing my last name. There's a girl in our cast, Lucy Punch; it's like the best name in the universe." But it's too late for a name change, I tell her. "No, no, I wear it like a badge of honor. I'm also going to rent 'Adam's Rib.' I wrote down both titles." I wish her mazel tov. Replies Heather Goldenhersh, "Thank you. You made my day, Michael!"

***

Sam Harris claims, "I am the luckiest guy in show business. When I read for this role, it was not a series regular, just someone who popped in and out. After the pilot, they offered me a series-regular contract. I'm working with the best of the best. It sounds corny, Michael, but I can't wait to go to work every day."

What is Harris' take on his character? "Perry Pearl is sort of a male Martha Stewart. He's a completely exuberant, life-loving, high-spirited guy, who loves his wife and daughter. Perry's sexuality is questioned — certainly not from my perspective — because his free spirit and sensibilities are not typically heterosexual.

"So often in television and film, someone plays a gay character and the question is whether or not the actor is gay. In this situation, the actor is gay, and I'm not going to tell whether or not the character is. [Laughs]

"On the other side of the coin, Sean Maguire's character, [the teacher] Kyle, who's gay and in a healthy gay relationship, is a regular Joe. It's possible that I may get flack from the gay community because my character's over the top. He's silly and has totally gay sensibilities. You know what? That's not my problem. My job is doing this great material, and being as invested and as funny as I can be." (Harris succeeds superbly, and steals every scene.)

Grand champion of the 1984 premiere season of "Star Search," the Oklahoma-born Harris followed his TV success with recordings and concert tours. His Broadway debut as Doody in Grease! made Harris a 1994 Drama Desk nominee. He received 1997 Tony and Drama Desk nominations as Jojo in The Life and took over (July-December 2002) as Carmen Ghia in The Producers. "Doing Mel Brooks comedy and working with the great Gary Beach [as Roger DeBris] was really, really an education. Playing that role and having the freedom to make a fool of myself helped when I was reading for this."

Continues Harris, "Every morning about four o'clock, the series fairies deliver new pages. You read them, go in and do the changes. During taping if a line doesn't hit or a situation doesn't get the response they feel it should, 15 writers come in and create new material. It's like guerrilla theatre; however, you're very protected. You do your job, and let the experts do theirs. Everyone there knows more than I do. I get to bring my little flavor; they get to guide it."

Is his approach to the character the same as it would be for a stage role? States Harris, "There's a different technique, but my approach is the same: 'Why am I doing this? What are my circumstances?' For Broadway, you rehearse six weeks; in TV, you have four days."

Al Jolson, Harris notes, is the stage role that's given him the most satisfaction. "The Jazz Singer [which he's done regionally] is a dark, beautiful, complex biography. Sherman Yellen and Will Holt wrote the book and original music, respectively. It's the dream role for me. I love New York, and I miss Broadway. Things work in a wonderful way. If ['The Class'] is a hit, it can make Jolson possible."

Meanwhile, Harris is "thrilled to be in the same room as the creators, director, crew and an incredible ensemble of actors." I tell him that, in my opinion, "The Class" will score high marks. He makes two spitting sounds, followed by a Yiddish expression, which translates as "It should only happen." Observes Sam Harris, "You can say that all day, and it won't bother me. [Laughs.] Thanks, Michael."

***

Michael Buckley also writes for TheaterMania.