Now that it could be told, Dan Lauria was telling it, only an hour or so after he had opened Oct. 21 at Circle in the Square in, and as, Lombardi—arguably, the most unexpected star-turn since Fiorello! brought us Tom Bosley.

"Really, I had an in," he admitted at the after-party at the newly refurbished Edison Ballroom (nee The Supper Club). "I'm the biggest Tommy Kail fan in the world, even before this, before Broke-ology and before In the Heights"—this would be the Thomas Kail who directed the play—"and, when he was broke, I gave him my apartment when I was in L.A., so it was Tommy who brought me in to do readings. He was honest with me. He said, 'I don't think you're big enough a name, but let's help raise the money for them, and I'll see what I can do.'"

It didn't hurt, of course, that Lauria bore a certain, bear-like, ballpark resemblance to Vince Lombardi, the legendary Green Bay Packers football coach being lionized by the play, and this physical similarity wasn't lost on The National Football League, who co-produced the show with Fran Kirmser and Tony Ponturo.

In terms of researching the character, the actor found himself at long last on Easy Street. "I'd love to give you that actor answer about how hard it was," he said, "but I've never had more help. The NFL has been great. Any piece of footage I wanted, they sent it to me. If I wanted to talk to Bob Fortus, they'd say, 'Here's his phone number.' Everyone in the cast talked to the football players they played."

Indeed, there were fleeting moments when the Edison's second-story press alcove, formerly known as The King Kong Room, had all the earmarks and bear hugs of a locker-room celebration—sans the spewing champagne and the protective goggles.

Dave Robinson and Jim Taylor, who memorably played for Lombardi and are depicted in the play, finally caught up with and congratulated their stage impersonators, Robert Christopher Riley and Chris "Sully" Sullivan—having only communicated with them previously by long distance.

"We talked over the phone about an hour a few months back," recalled Robinson. "He wanted to get some inflections of my voice, but he didn't know my characterizations, so maybe we'll get that today. I'm not disappointed with the way he played me, let's put it that way. I was very excited about the whole thing. The way they portrayed Vince and Marie was so exact and real I had flashbacks all evening, over and over."

View the Entire Photo Gallery Dan Lauria Photo by Joseph Marzullo/WENN

If the three actors passing for footballers on the stage pass convincingly, that's because they all three have sports backgrounds. "I played football for eight years in high school and at Lehigh University—I was a safety and a wide-receiver," relayed Riley, "but I found acting in my freshman year, and it pretty much replaced football. I figured that I could play a football player longer than I could play football."

He was right about that, and he Broadway-bowed in 2008 as the past-his-prime footballer who played "the cut glass punch bowl": "I understudied Terrence Howard in Tennessee Williams' Cat on a Hot Tin Roof, so I had a chance to do about 15 percent of the shows. Dave Robinson is the first role that's all mine."

Sullivan, a serious tennis player in college, brought dignity as well as bulk to the role that is marking his Broadway debut: "Jim Taylor, himself, was a man who was known for his integrity and known for his pride and his work-ethic, so it was really nice to play a man who was considered to be such an honorable human being."

Taylor, who makes a still-fit and rather handsome senior citizen, owned up to a heart-swelling pride at seeing his younger self trotting across a Broadway stage, but he felt he was seeing it in long-shot from afar. "Those days with Lombardi were 50-some-odd-years ago, you know," he pointed out. "I'm 75, and I'm watching a 27-year-old version of me do all that. But I must admit I really enjoyed the experience."

The third of the three real-life Lombardi musketeers depicted in the play, Paul Hornung, was scheduled for the opening, but didn't show. Bill Dawes, his young stage facsimile, had the situation already covered, though, having motored down to Louisville two months before rehearsals and had lunch with The Great Man.

"I got some great, fantastic stories about him and Lombardi," Dawes said, "so I had a leg-up when I started the first day of rehearsals. I don't know if it's good to admit this, but I'd never heard of him before I auditioned. But the cool thing about being an actor is, once you get some of these roles where they're based on real people, you can learn a lot. I ended up learning a lot about old-school football and Lombardi. I read David Maraniss's book ['When Pride Still Mattered: A Life of Vince Lombardi,' on which the play is based], and I learned a lot about Paul—more than I'd ever think I'd know about another person. To play him was a real gift for me."

Dawes played high school football in northern Virginia and, by his own admission, "wasn't very good," but he passes well in what he counts as his Broadway bow. ("My first professional gig was understudy in Sex and Longing. Once, I went on.")

The featherweight on stage is Keith Nobbs, playing a fugitive from the cerebral world—Michael McCormick, a Look Magazine sports reporter who has come to spend a week with Lombardi in Green Bay to gather information for an in-depth interview that may be just a little too deep for Lombardi's liking—this, circa November of 1965, just before the coach's historic run of championship seasons.

"It's the only fictional character in the play," Nobbs noted, "but it's an amalgam of a real character and a lot of Maraniss' book. My role helps gives focus to Lombardi's life and shows what a father figure he was to all of the players that he coached."

Dan Lauria and Judith Light talk about the man, the myth and the reality of Broadway's pro-ball protagonist:

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