By Mervyn Rothstein
14 May 2012
Jim Parsons has two TV Emmys, but deep inside he's a man of the theatre.
"Theatre was my first love," Parsons says. "I can't take the theatre out of me. And I wouldn't want to. To me it's home. For an actor — maybe not all actors, but for the type I feel I am and the type I want to be — there's not a better place to hone what it is you do."
Mary Chase's classic 1944 comedy won the Pulitzer Prize and lasted 1,775 performances, making it the sixth-longest-running play in Broadway history. Antoinette Perry, for whom the Tonys are named, directed; Frank Fay was the first Dowd. Jimmy Stewart portrayed Dowd in the 1950 movie. Parsons' co-stars are Jessica Hecht and Charles Kimbrough; Scott Ellis directs.
Parsons, 39, grew up in Houston and made his stage debut in school at age six as the Kola-Kola bird in The Elephant's Child. He was hooked on theatre.
"Even five years into doing 'Big Bang Theory,' the scales are still tipped for me so heavily in theatrical experience," Parsons says. "Whether it was children's theatre, or Shakespeare in the Park in Houston, or free theatre in a converted warehouse in downtown Houston" — or college at the University of Houston, or the Old Globe/University of San Diego graduate program in classical theatre — the stage was where he learned his craft.
Parsons has the Texas accent that's part of the Sheldon Cooper essence, but there's nary a hint of the character's hubris. His non-TV voice is friendly and unassuming, with the sincerity of an actor who loves his craft.
Last year he appeared on Broadway in the Tony-winning revival of Larry Kramer's The Normal Heart. (Ben Brantley of The New York Times called him "terrific.") One reason he has returned again, he says, is that he misses "the immediacy" of stage acting. "We have an immediacy to our TV show because we have a live studio audience. But there are major differences. Being in TV, we get to do it again and again until it's 'right.' There's a part of me that likes the other way, that aspect of theatre where there's no chance to go back."
But most important "is that I've not worked in any other medium that offers as much time to get to know a story, and a character, as theatre does. The TV schedule is essentially four or five days to get in touch with the story you're doing that week. You play the same character every time, so there are certain things that do carry over, but as far as the story, as far as the words — and the words are ever changing through those four or five days — you don't get a chance to sink down into the script."Continued...