Interview - Frank Langella On Acting, Aging And Playing The Big Bad The man who once brought Richard Nixon to life onstage returns in a Broadway revival of Man and Boy. He explains how he plays a villain learning to cope with a conscience — and why the 1963 show's theme still resonates.
NPR logo

Frank Langella On Acting, Aging And Being Very Bad

  • Download
  • <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player">
  • Transcript
Frank Langella On Acting, Aging And Being Very Bad

Frank Langella On Acting, Aging And Being Very Bad

  • Download
  • <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player">
  • Transcript


This is WEEKEND EDITION from NPR News. I'm Scott Simon.

Nobody glowers like Frank Langella. The man who brought Richard Nixon to life in his Tony Award-winning turn in "Frost/Nixon" and was a true lizard in "Seascape," is now playing Gregor Antonescu, an acclaimed international financier who was exposed as a flagrant and successful fraud in the revival of Terence Rattigan's 1963 play "Man and Boy," which centers around the sudden reunion of the father, played by Mr. Langella, and the son that he said was dead. Actually, the son is just living in Greenwich Village.


FRANK LANGELLA: (as Ross) Then I suppose I'm a very bad man.

UNIDENTIFIED MAN: (as character) Oh, no? To be bad you must at least have some idea of what badness is.

LANGELLA: (as Ross) And I do. Eh, perhaps not and yet I have a conscious. I must or I wouldn't have tried so hard to drive it away.

UNIDENTIFIED MAN: (as character) When did you have a conscious?

LANGELLA: (as Ross) Five minutes ago. It came in human shape. And I did. I drove it away.

SIMON: We've joined Frank Langella in his dressing room at the American Airlines Theatre in New York.

Thanks very much for being with U.S..

LANGELLA: You're more than welcome. Thanks for having me.

SIMON: And there's a small smile at your face. You're not exactly glowering now.

LANGELLA: Not yet.


LANGELLA: See how the interview goes.


SIMON: Is there some special satisfaction in playing characters a lot of other people find immediately unappealing?

LANGELLA: Yes, actually. Yes, that's a very good question. There is. These men who are monsters, so to speak, are enormously, enormously rewarding to play. Much more so than a good man, you know, of a purely good man. There're certain rewards in that. But there's so much more that you can draw on when you play a man who's complicated, difficult and downright mean, as this man is.

SIMON: How much do you have to like a character to play him?

LANGELLA: Completely. I have to be totally on the character's side. I have to see it all from his point of view. I can't judge him. I can't say, oh, how terrible of him to do this - wink, wink - let me find a way to soften what he's doing. 'Cause when you're inside yourself, no matter what you are, you believe in what you're doing.

You don't say, I just screwed somebody over in business. I'm doing it. I'm a really mean person. You lie to yourself and tell yourself all the reasons why it's OK for you to do what you do. Even a serial killer does that. And yet, we're all very quick to judge anybody else's cruelty and very quick to justify our own.

SIMON: Can you let the conscience, your conscience show?

LANGELLA: You mean in this play or talking about in life?

SIMON: Yeah, but generally as well.

LANGELLA: Well, in this play, the conscience is in the shape of his son. He says my conscious comes in human shape. And it's the son that he can't bear to be around because the son is the reminder to him of the kind of desolate life he lives. And if he lets his love for his son in, and vice versa, he won't be able to do what obviously means more to him.

SIMON: In your mind, is the theme of the play newly pertinent given recent events?

LANGELLA: I think the theme of the play is universal. You know, I know that it appears to be about a financial scandal and that's the back story. In fact, the man I'm playing is at the end of his road financially and in his business life. He's desperately trying to save himself one last time.

But the theme of the play is universal. And I think it says: Why do we put up so many roadblocks to real love, real intimacy, real caring? Why do we search out things that only give us temporary satisfaction and rewards when something quite pure and beautiful might be standing there wanting our love and we go to something else?

You know, we go to a cigarette or a drink or rampant sex or making lots of money or possessions. And that's universal. Everybody, I think, suffers from that.

SIMON: You're speaking of the love of the son that he isn't able to...

LANGELLA: Yeah, that his son has for him is so pure and he just can't handle it.

SIMON: Now, when we walked into your dressing room, we noticed you've got some words of instruction that are framed and hanging up. And they say that they are yours, they don't go with the dressing room.

LANGELLA: They go with me from dressing room to dressing room.

SIMON: Is it possible to share a couple of them? Would you mind?

LANGELLA: Sure, you can read them out loud if you want to.

SIMON: This one: The cathartic possibility of the theater needs nothing more than the actor and the stage.


SIMON: I mean, nowadays on stage they have smoke and whistles and people disappearing in boxes and...

LANGELLA: Yeah, but the quality is the cathartic possibility. You can have theater with all of those things. But you can't have the cathartic possibility of theater, that thing that lifts you beyond yourself as an audience member. You really just need the platform and the actor, another piece of humanity sharing his humanity with the audience.

SIMON: Mean it?

LANGELLA: Mm-hmm. Mean it is simple. You know, don't open your mouth if you don't mean every word that you're saying. The one you didn't read is my favorite, which is: leap empty-handed into the void.

SIMON: That's your favorite because?

LANGELLA: It is because it's the hardest thing to do and it takes a lot of work and a lot of time and a lot of confidence to finally know that if you've learned your lines and you understand what they mean, and you're ready to go, and you've fixed the costume and the light's OK. And you just walk out on stage and you leap empty-handed into the void and you see what comes back to you.

SIMON: I certainly don't want to give away any - I don't want to give away how the play ends. But is it hard for you to carry that kind of sadness around night after night and today – twice, I guess, matinee and for evening?

LANGELLA: No, it's my craft. It's what I do. The play is in its I guess 16th or 17th preview and perforce by the very nature of repeating it and discovering it, I do get more and more affected by the emotional - powerful emotional connection the father and son have in the last moments of the play and...

SIMON: Yeah.

LANGELLA: ...what his life is like. But it happens on stage and I let it happen on stage and it fills me with often great sadness. But when it's over, it's over. I don't carry it with me. I remember a young actor told me once that he - it took him a year to get over playing Hamlet. And I said well, then you did it wrong.


LANGELLA: It should take you until your first glass of wine at the restaurant later on to get over it, and even shorter than that.

SIMON: Is there a particularly kind of satisfaction you take at this stage of your career?

LANGELLA: That I get up every day and I got here, that we're sitting here, that I'm healthy. That people still want to come and see me means a great deal to me. And that I…

SIMON: You're in your 70s now, right?

LANGELLA: I'm in - I'm 73.

SIMON: Is there some strength you can bring to the stage that you didn't when you were a young matinee idol?

LANGELLA: Yes. I'm over that and I'm grateful to be over it. You either get over it or you don't and a lot of my colleagues don't get over it. I, you know, I haven't done any plastic surgery and any plugs in my head. I'm letting my hair go as it goes, and I'm trying to age gracefully into my profession as well as life. I think it's madness to try to be what you were. You know, it's great to have been it. I'm glad some of it's on film. I'm glad some of it's recorded. But I certainly feel more liberated with each decade not having to worry about those things anymore.

I did a movie a number of years ago with a very famous actor, exactly 10 or 15, maybe 15 years younger than me. And I was really heartened by the fact and found it funny to watch him in the makeup chair and watch him look at the camera and look at where every hair was and how good his makeup was and all of that, and I could care less now. I mean I just put on my suit and go in front of the camera. But that's because I'm 15 years older and I'm no longer interested in that, and if he evolves the same thing will happen to him. It's very liberating to not be concerned with the things that used to matter so much to you, that then they got it the way.

SIMON: Frank Langella, thanks very much.

LANGELLA: My pleasure. Thank you.

SIMON: Frank Langella, backstage with us at the American Airlines Theater in New York City. Mr. Langella opens October 9 in "Man and Boy."

Copyright © 2011 NPR. All rights reserved. Visit our website terms of use and permissions pages at for further information.

NPR transcripts are created on a rush deadline by Verb8tm, Inc., an NPR contractor, and produced using a proprietary transcription process developed with NPR. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.