I’m looking at a framed picture of an article that came out in the New Yorker before we opened, and it’s sort of a cartoon of Elisabeth, Jason and myself with the image of Wendy in front of us. Is the spirit of the playwright a big presence for you guys?Ībsolutely. You refer to her by her first name as though she’s with us. It kind of feels like Wendy challenging those of us in the future-today-to look at where we came from and what we have done to answer some of these questions that she was raising. This is what the best writers do, they write in a specific point of view in a specific time period in a timeless way. There’s always something going on related to the play.Ĭonsidering your character spans several decades, what’s the most challenging of this part has been for you?Įach time I go out there, there’s a new level to the character’s journey. We span many decades in the show, so I have people coming in and implanting sideburns on my face and then removing those sideburns, fiddling with my hair, helping me spray some 5 o’clock shadow on. Truth be told, there’s not so much time between things. I won’t confess to being very good at darts, but maybe I’m getting better. With this job, I have 10 or 15 minutes in between scenes, and that provides a different sort of challenge because I have to stay up enough so that I don’t have to re-calibrate every time I go back out on stage. I grew up playing sports, so I enjoyed that rigor. Part of what I really enjoyed about Gentleman’s Guide was it felt like being an athlete. Gentleman’s Guide felt like an athletic event every night. And, for me, the physical demands of a musical are just astronomically greater than doing this play I’ve put all my baby weight back on! And I have energy after the show, which is a new feeling for me. I think the biggest difference is the material. Even though the ensemble was switching around through so many different parts, it felt like a small show. Well, truth be told, Gentleman’s Guide felt like a small cast, too. It’s quite a departure from a big musical. One of those jobs that you secretly show up to a little early because you like all the people and you just want to hang out with them. Aside from it being an amazing show, it’s a great group of people. You left the very popular, endlessly award-nominated Gentleman’s Guide for this quieter, more thoughtful show. Here, he explains how he spends time off stage, why leaving a musical is bad for the waistline and just what he’ll be doing next. Only three years later, he earned his first Tony nomination-for the wildly popular A Gentleman’s Guide to Love and Murder-and has since landed the plum role of Peter Patrone in the critically praised revival of Wendy Wasserstein’s Tony-winning The Heidi Chronicles opposite Elisabeth Moss and Jason Biggs.Īnd while Heidi is shutting down in early May, the future’s nothing but bright for Pinkham. Bryce Pinkham’s built plenty of momentum since he made his Broadway debut in 2010.
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