"Amanda Peet is perhaps best known as an actor—notably nuanced dramatic and comedic performances decorate her résumé with films like “The Whole Nine Yards” and “Syriana” and TV shows like “Togetherness” and “Brockmire.” But she’s currently reprising her role as a playwright. After penning the 2013 Off-Broadway production, “The Commons of Pensacola,” which starred Blythe Danner and Sarah Jessica Parker, her latest, “Our Very Own Carlin McCullough,” is running June 19, to July 29 at the Geffen Playhouse in Los Angeles. The play follows the titular 10-year-old tennis prodigy as she’s caught between her longtime coach and conflicted mother. Mamie Gummer stars as Carlin's single mother, Cyn, in the Tyne Rafaeli–directed play. Peet recently spoke with us about how writing has made her a better actor and her roots with Backstage."
"When actor Amanda Peet was a child, she developed a friendship with a camp counselor that some deemed inappropriate. "He just paid too much attention to me, basically, and I think probably with what’s going on currently in our culture, he would have been fired immediately," says Peet. "So, times have changed."
The incident is part of what inspired Our Very Own Carlin McCullough, Peet’s new play starring Mamie Gummer, Abigail Dylan Harrison, Caroline Heffernan, Tyee Tilghman and Joe Tippett — which began previews June 19 at L.A.'s Geffen Playhouse, opens June 27 and continues through July 29."
"The alchemy involved in new play development is a fragile balance and begins with the right collaborators. In the case of Our Very Own Carlin McCollough, the first two elements include playwright Amanda Peet and director Tyne Rafaeli. I had the opportunity to sit down with them in the early part of their rehearsal process to discuss the art of creating a new play."
"Amanda Peet says her house often resembles a lunatic asylum. That’s largely in reference to the outsized creative endeavors of her three young children, but it’s also a description of a household devoted to writing — a solitary and crazy-making pursuit.
Peet may be best known as an actress, having appeared in films such as “The Whole Nine Yards” and “Syriana” and in TV shows, including the Duplass brothers’ family dramedy, “Togetherness.” But she’s also a serious writer, with her second play, “Our Very Own Carlin McCullough,” set to begin previews Tuesday for its world premiere at the Geffen Playhouse.
Peet’s husband is David Benioff, also a serious writer. He adapted his first novel, “The 25th Hour,” into a screenplay for a movie directed by Spike Lee. He also writes many of the episodes for a little HBO show called “Game of Thrones,” which he co-created with D.B. Weiss."
Mamie Gummer And Joe Tippett to Lead Amanda Peet's OUR VERY OWN CARLIN MCCULLOUGH At The Geffen Playhouse
"The Geffen Playhouse today announced the full cast for its world premiere production of Amanda Peet's Our Very Own Carlin McCullough. The play will feature Mamie Gummer (The Good Wife, True Detective) as Cyn, Abigail Dylan Harrison (The Affair) as Carlin at 10, Caroline Heffernan as Carlin at 17, Tyee Tilghman as Saleef and Joe Tippett (Rise, Broadway's Waitress) as Jay. Tyne Rafaeli (Geffen's Ironbound, Actually) will direct.
Previews for Our Very Own Carlin McCullough begin Tuesday, June 19 in the Audrey Skirball Kenis Theater at The Geffen Playhouse with opening night set for Wednesday, June 27. The show closes Sunday, July 29."
THE AFFAIR Reveals Its Big Killer Secrets - Recap of Season 3, Episode 9 (Tim Teeman)
It is rare to cheer the television set these days, but watching Helen (Maura Tierney) bundle her insane, awful parents into a fortress-like panic room in the basement of their Montauk home was one such moment.
Thank you, The Affair, for that—and for a brilliant episode so crackling with tension and (darnit) almost the revelation of what the hell has been so corrosively eating away at Noah Solloway (Dominic West). But wow, fellow fans, you were holding your breath too, right? OK, let’s breathe together again. We began the episode with Helen, still laboring under the guilt of having knocked over Scotty Lockhart (Colin Donnell) last season, after Alison (Ruth Wilson)—her successor as Noah’s wife after their affair—pushed him in front of the car Helen was driving.
Noah took the rap for it, because he felt guilty for having the affair, and because he wanted Helen to care for their children, and because he loved Alison.
In jail we know Noah has been tortured by a sadistic guard called Gunther (Brendan Fraser). Noah’s beat up mentally too, and we don’t know what is real and what is not in his present mind.
In a show that centers on the different viewpoints of characters anyway, that uncertainty has made the objective reality issue even harder to decode.
Somebody tried to kill Noah, and so this season also has been an attempted murder mystery. Noah has been wearing a bandage on his neck for officially a very long time. We are all over the bandage. Unless an alien is going to mewl forth from that damn wound, let’s lose the bandage.
After breaking up with hot doc Vic (Omar Metwally), who could not be doing with Helen’s continued twisted love for Noah, Helen decides to take her kids to Montauk, and her parents, driving past the spot where she killed Scotty.
Her mind is untethered most of the time—but then so is everyone’s on this show—and especially so after Noah’s sexual assault of her the night before. Her parents, menacingly marinated in therapy and yoga, have gone from being harrying bullies—at least it seemed on first sight—to karmic sweetie-pies. Does Vic do yoga, her mother asks: He had great energy and a strong core (we agree, we agree).
Helen confesses that she and Vic have broken up, which her parents take as a sign of her brokenness. She is falling apart, a wreck, her mother says, adding that therapy would be the answer.
Helen rushes out to the Lobster Roll, because where else to go for respite but where all this agony began—the cafe where her family, then with Noah at its head and now without, ate and where Alison first met him.
Today she sees pies made by Mrs. Lockhart, and buys three out of guilt for killing her son.
At home, Helen’s mother is boasting about the cauliflower roasted in coconut oil, the children are praising Vic for his culinary and chess tutelage, and her parents want to know what happened.
Then Helen’s daughter Stacy (Abigail Dylan Harrison) reveals she knows that Alison housed Noah in the basement the day before. All hell breaks loose. The other children want to know why she hasn’t told them.
Harrison’s acting is so subtle and beautiful to watch: terrified she has done something wrong, and full of upset at the state of her family.
by Denise Simon: 11 Young Actors on How to Cultivate and Attitude of Gratitude
"Acting is hard, it’s very hard.”–Charles Nelson Reilly
Sure, acting is hard. You have to speak memorized lines as if you have never said them before and live out events as if they have never occurred. The acting business itself is also hard. You didn’t get the role you prepared for even though you were right for it, your scene in that film ended up on the cutting room floor, auditions have slowed down now that you’re a teen. You start to feel discouraged and then you take a second and remember how many things you’re actually really thankful for.
A simple concept that can get us through challenging times is called gratitude. Studies have shown the positive effects of a simple attitude of gratitude, which can produce social, psychological and physical health benefits. I spoke to some young actors to find out what they are grateful for this time of year and thought I’d share their sentiments.
10-year-old Abigail Harrison, who currently understudies Tori Murray in the award-winning musical smash RUTHLESS!, is set to perform at the 5th annual "Tunes in Times Square" charity event on Sunday, May 1.The free show, to be held on Broadway between 42nd & 43rd Streets, will be a continuous sing-a-thon featuring Broadway performers to raise awareness about Magical Music for Life, a foundation dedicated to enriching the lives of children through the impactful and extraordinary power of music.
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