By Harry Haun
12 Jan 2013
Photo by Joan Marcus
"Josh Logan described Madge as 'an art nouveau candy-box' girl — she's sensuous and incredibly gullible — but I think we can let a little bit of that go, that perhaps she's more knowing that there's something else, something more meaningful.
"I just loved that Sam was really keen to release this '50s idea of the vapid ingénue — that, perhaps, this young woman is really at a crux of her life as well. She has an inkling that maybe the life laid out for her isn't the best deal after all."
Stan sees Hal as a Brando-brand product of his times. "This is not Stanley Kowalski at all — it's not that kind of role — but it has rebellious qualities of all those guys from the '50s. Because William Inge and Tennessee Williams came out of the same frame of thought, they wrote these male characters who were sort of extremes — brooding, violent, broken, unpredictable — and this part has all those possibilities in it."
"For him, he's so yearning to fit into this idea of a world he thinks he needs to be in that he ignores who he really is. He wants to be part of that so badly he doesn't pay attention to his own values. Once in a while, it takes a girl to remind you of those."
These opposites attract, but will they stick in the long run? Stan opts for the soft focus: "I'm more of the romantic thought that they lived a life on the road — maybe not necessarily owning a lot but always in the quest for a new adventure. People today say, 'Oh, but what kind of life is that? She's going to get pregnant and live in a hotel room.' That's the brutal realism of today. It was more acceptable back then to have this romantic getaway lifestyle. People believed in those things, so — for the people who still think that way, I being one of them — I believe they'll be great."
Grace is less sure of that: "It depends on if you're asking Maggie or Madge," she says. "It's really good for me, as Madge, to fall in love for the first time every day for a few months, to have that kind of hope and believe in the best in someone. Of course, being a little more well-therapied and older than Madge, I look at it and go, 'Oh my God, these kids are so ill-equipped to build their relationship. They're both reeling from really dysfunctional childhoods and have no idea how to cobble together a life.'"
"Goodbye, young lovers, whoever you were…"
(This feature appears in the February 2013 issue of Playbill magazine.)