Melora Hardin and Robert Downey Jr. portray the complex relationship between Francine Blake and Jacob McNeal on Broadway. (Photo: Matthew Murphy and Evan Zimmerman)
When Melora Hardin first read the script for Ayad Akhtar’s McNeal, she immediately knew she wanted the role of Francine Blake.
Blake, a powerful journalist, is the late wife of fictional Nobel Prize winner Jacob McNeal (Robert Downey Jr.), and Hardin remembers thinking, “Wow! This is a person I definitely want to embody.”
The play, running through Nov. 24 at the Vivian Beaumont Theater at Lincoln Center, focuses on McNeal’s egotistical, manipulative personality, who borrows ideas and words from other writers, while also harboring a controversial fascination with artificial intelligence.
Though Hardin has previously appearing in Chicago on Broadway, McNeal gave her the opportunity to originate a role on Broadway for the first time.
Malora Hardin is best known for her roles on ‘The Office’ and ‘Transparent.’ (Photo: Manfred Baumann)
The actor is perhaps best known for her small screen portrayals of Jan in “The Office” and Trudy Monk in “Monk.” She was nominated for an Emmy for her role as Tammy Cashman in the TV series “Transparent.”
In addition to her extensive work on screen, Hardin wears many other hats: she is a director, musician, and collage artist.
She spoke with The New York Independent about sharing the stage with Downey, the impact of artificial intelligence on her craft, and the irony of inhabiting a dressing room last used by “Office” co-star Steve Carell.
The New York Independent: What has been the most rewarding aspect of originating a role for Broadway?
Melora Hardin: When you get to work really closely with Ayad Akhtar and [director] Bartlett Sher you work in a way where you’re developing and shaping something. Ayad happens to be incredibly generous with his material so that we were working through moments, and things changed based on what felt truthful and what was and wasn’t landing.
It’s really exciting and wonderful to be able to work with someone that is as creative and brilliant as he is. Also, Bartlett was shaping something together as we went. And of course, playing off of an actor like Robert is so exciting.
NYI: What intrigued you most about the character of Francine Blake?
Hardin: She was Jacob’s equal. They were madly in love with each other. I think there was a lot of struggle and discontent in it, but ultimately they are real equals, and I think she is the last person he can go toe-to-toe with. He says in his Nobel Prize speech, “We like to lie to ourselves, and A.I. likes to help us lie to ourselves. It’s the great artists and great humans that do not let us off the hook from our lies…that are willing to confront the lies.”
The cast of Lincoln Center Theater production of McNeal. (Photo Matthew Murphy and Evan Zimmerman)
That’s what Francine is. She’s one of the great humans who says, “No, you can’t lie like that because I won’t let you, and I’m going to tell you the truth.” She throws him a very generous line and tries to school him in how he could save himself if he would just fall to his knees and sort of repent to his own demons. She does that even though she’s been so hurt by him. It shows her transformation and her own evolution as a human from the pain that she experienced with him. To me, that is one of the greatest things about her character.
NYI: What did you find to be the most challenging aspect of originating Francine?
Hardin: For me, it’s just like playing in a sandbox. It’s always challenging to find somebody’s truth. It balances out so much on the other side with the joy of the work. The biggest challenge is between the work, when I’m dealing with real people; it’s the open spaces where Melora is there. It’s just perfection when I’m in the work and I’m Francine. I don’t have trouble staying centered in my work.
NYI: The play speaks of how AI permeates the artistic world in a variety of ways. There’s so much in McNeal that must resonate with you because of your multifaceted career.
Hardin: When I read the script I thought, “Wow, this is so modern. This is what we’re all thinking about.” I recently started a lifestyle brand called Storyboards by Melora Hardin. I’m trying to find the next step with it. I’m not as adept at AI as a lot of people, but if I were, I think it really could help me get some ideas. I think the show has given me a little more courage to play with AI and garner what I can from it. It’s not ever going to replace who I am and it’s not going to take from what I’m doing.
Melora Hardin and Robert Downey Jr. go head-to-head in McNeal. (Photo: Matthew Murphy and Evan Zimmerman)
NYI: You took to the Vivian Beaumont stage right after Steve Carell’s run there in Uncle Vanya. It seems that the cast of “The Office” is slowly leaving their mark at Lincoln Center! Did he have any advice for you?
Hardin: I know! It’s funny. Unfortunately, I wasn’t able to see him in Uncle Vanya. I don’t even know if he knows I’m doing McNeal. We’re not in touch that much, but if I ran into him, I’m sure he’d tell me he loves it at the Beaumont and wish me well!
NYI: Where did the inspiration for your art come from?
Hardin: I make collage art which can be found at Melora.com. Inspiration came from the documentary I’ve been working on for seven years called Thunder, Hunter, and Me. I’ve always dabbled in collage, but thought it was more like doodling. I didn’t think it was meaningful. Through the documentary my subject found that my collages were helping her heal and she had a vision at a dark time when she didn’t have a vision for herself.
When she had a nightmare she would call me and say, “I woke up, I opened my iPad, and I expanded your collage. I used my childlike imagination to put myself there.” It was very healing for her. She infused the art with meaning, and as soon as that happened, it was almost like I was possessed, and I couldn’t stop collaging and working. The wallpaper became a way to make them big. I worked with a gallery and did some fine art and then did a show in Montreal where I made pieces that were six feet wide with real gold, silver, and copper leaf. Later, I put the designs on clothes. It’s all very joyful, healing, and life-affirming.
NYI: How would you envision yourself returning to the stage in a musical?
Hardin: I would love to originate a role in a musical. I love singing, dancing, and acting. Doing all three of those things eight times each week is really exciting to me. I would totally be up for that if the writing came along. If they ever did a Broadway musical based on “Tangled,” I would love to play Mother Goethal. I sang her song when I was on “Dancing with the Stars.” I actually sang the song that we danced to on the show. The movie would make a great musical!
Please visit mcnealbroadway.com for more information about McNeal or to purchase tickets.