- #ONSTAGE DESIGNING WOMEN SHEDS SHOULDER NOT PROFESSIONAL#
- #ONSTAGE DESIGNING WOMEN SHEDS SHOULDER NOT SERIES#
We settled down in Greenville, South Carolina, for a long time. I was born in Kentucky but we moved around the Southeast. I have a brunette personality.ĭid you always like old movies growing up? Like, I wouldn’t be a good Gerri in real life. It’s so crazy, because I’m such a dizzy dame. You know how Gerri is always wincing and rolling her eyes and pretending she didn't hear? But she’s not clutching her pearls. I tried to do this thing where I straddled being unflappable but being grossed out. The first scene that we shot was between Kieran and me, but it was supposed to be a guy, so the crude language in it was just the way they always talk to each other. It was Jerry, J-E-R-R-Y, in the scripts that I read.
I guess it was perhaps Doug’s idea to see some women for that part, because it was written for a man. He cast “Margaret.” Well, I mean, Kenny had cast me in “Margaret,” but, you know. Doug Aibel, who has cast my husband’s films, was the casting director at that point. Then, when I had the audition, they sent me a link for the pilot so I could get the tone of it, but I couldn’t get it to play! So I was, like, Fuck it. I had seen “In the Loop,” so I knew Jesse Armstrong’s name. How did you know you wanted to do “Succession”? (Warning: mild Episode 5 spoilers ahead.) Our conversation from that night-and on a follow-up call-has been condensed and edited. When I checked Twitter on my way home, I saw that Smith-Cameron had tweeted, “i just had the greatest first date ever.” The feeling was mutual. I floated out of the restaurant tipsy from the drinks and the good company. A woman nearby had brought along her two Shih Tzus, which wore fussy hair ribbons and sat beside her as she ate a slice of cake. The martinis were ice-cold, and our waiter kept bringing us toasted cheese crackers.
#ONSTAGE DESIGNING WOMEN SHEDS SHOULDER NOT PROFESSIONAL#
She is loving every minute of it.įull disclosure: our rendezvous at Bemelmans didn’t feel like a standard professional journalistic encounter. At the age of sixty-four, Smith-Cameron finds herself swarmed with “shippers” who make gushing fan art about her character’s sex life. Suddenly, hundreds of strangers were responding to her tweets-Smith-Cameron is very active on Twitter-with effusive commentary about her onscreen flirtations with the much younger Roman Roy, the horny scallywag played by Kieran Culkin. But it was not until “Succession,” a bona fide sensation, that Smith-Cameron found herself famous beyond her Broadway bubble. She did act occasionally in films, namely in Lonergan’s three-hour 2011 epic “Margaret,” in which she is magnetic as the preening actress mother of Anna Paquin’s protagonist. Her dream, she told me, was merely to keep the lights on with stimulating stage work. In 1998, she won an Obie Award for her commanding performance as a shifty, melodramatic con artist in Douglas Carter Beane’s play “As Bees in Honey Drown.” Two years later, she married the celebrated playwright turned filmmaker Kenneth Lonergan, and together they became a kind of theatrical power couple, holding court at one of their favorite local haunts, the now defunct Café Loup.įor many years, Smith-Cameron, who is originally from Louisville, Kentucky, and still has a hint of a Southern drawl, operated under the radar. With a gift for wacky comic timing and the husky voice of a classic screwball heroine, Smith-Cameron became a stalwart player on the Broadway and Off Broadway scenes-a “bread-and-butter actor,” as she put it. But few people in the cast are as dedicated to the city as Smith-Cameron, who moved to the West Village from the South in the nineteen-eighties to pursue a life on the stage.
#ONSTAGE DESIGNING WOMEN SHEDS SHOULDER NOT SERIES#
Robinson) on “ Succession,” the HBO series about a warring New York media family, which is midway through its third season. (She also smells divine, a trail of Narciso Rodriguez for Her eau de parfum.) Smith-Cameron has lately gained an avid following for her role as Gerri Kellman, the interim C.E.O. The place, very old-school and very New York, seemed perfectly suited to Smith-Cameron, who has long been a fixture of the city’s theatre scene and who radiates effortless elegance. Smith-Cameron suggested that we meet for martinis at Bemelmans, the gilded piano bar at the Carlyle Hotel.
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