no apparent danger. However, she stresses that there is a psychological danger in a child rocketing into fame. “It can destroy an immature soul. When the world tells them they’re brilliant, they’re swept up into the public relations. This play is definitely a metaphor for that.” After shooting The Wife with Glenn Close, a film based on the novel by Meg Wolitzer, Anderson sent the actor the script for Maid and she was immediately on board. Ironically, the film features Close’s real-life daughter, Annie Starke. The 30-year-old actress has largely been kept out of the limelight. “Glenn is utterly breathtaking in The Wife ,” Anderson says of her now go-to leading lady. “She plays Joan Castleman, a character who is very different from Isabelle Arc because Joan is a highly intellectual, sophisticated, urban woman who is quite shy and restrained in a very waspy way.” Close doesn’t have screen-time with Starke, as her daughter actually portrays a younger version of Castleman. However, Anderson feels that Close’s own life and her relationship with her daughter contributes to the role of Isabelle on a primal level. “[Close] has a daughter that she deeply loves, and I know as a mother myself that you pull from that deep, basic love for your child and a need to protect and make sure that that child will never be harmed,” she says. “You want your daughter to grow up to be happy and outlive you.” Close is no stranger to playing matriarchs across the spectrum, from the heroic Jenny Fields in The World According to Garp , to conniving lawyer Patty Hewes in Damages . “Glenn is a very earthy person,” says Anderson, attempting to explain why Close is adept at playing flawed women. “It could be the structure of her face. In The Wife she’s an intellectual woman but she’s shy and has restrained her deeper, angrier impulses her whole life. In Maid , Isabelle Arc is a very tender, naïve woman who is also very tough and strong, but there is nothing manipulative about her. She is guileless until circumstances force her to see what the world is doing to her daughter. That is not Glenn at all.” Who is Close? “Glenn loves her dogs, she has a place up in the country in Connecticut, loves to weed whack, put galoshes on, and garden. There’s not a vain bone in her
body. She’s a very warm person.” Maid marks Close’s return to the stage after having last been seen as the eccentric, insane Norma Desmond in Broadway’s Sunset Boulevard . “This is the absolute opposite,” says Anderson of Close’s work in Maid. “[Norma] was all about maintaining the artifice of youth. Isabelle is all about living in the real world, and has probably never looked in a mirror because she doesn’t have one. It’s going to
of Joan’s goodness, she was still 19-years- old and crazy with power. “We know how impulsive we are when we’re 19. Our judgment isn’t fully in place until we are in our mid-20s. Joan was this impulsive, fierce young woman, and she felt that God was behind her. It got her in a lot of trouble.” As for Isabelle, what she wanted for her child is similar to what any parent would want, whether or not their child
One might argue that today’s parents are more excited at the prospect of their children being gifted or famous, thus garnering attention.
be astounding.” Also differing from Close’s last theatrical work in New York–the stage. The Anspacher Theater at the Public is very intimate, and the audience will be surrounding Close in stadium seating. “They will be so close to her and her fury, grief and hope,” says Anderson. “The medieval period is very meaningful to Close,” Anderson remarks when considering
is gifted. “Isabelle realized she didn’t want her daughter to be confined to this tiny town picking burrs out of wool and having a bunch of babies,” says Anderson. “Even though my mother was ambitious for me, she also hoped I would get married and give her a bunch of grandbabies… and chat with her. Many mothers want their daughters by
how the actress has approached playing Isabelle. “She has been doing an enormous amount of research, especially about her religiosity. A woman like her is just plunged into church and believes everything the church says. We have talked about that a lot, because eventually in the play she feels betrayed by the church and her God because of what’s been done to her daughter.” Anderson relates the way the court and church use Joan as a symbol only to discard her and ultimately burn her alive, to “public relation machines and handlers of gifted children.” “Gifted children need to be reminded of the ordinary,” she says of how parents can find environments for their children that are safe and understood. “The child needs to be reminded of what basically counts in life, which is family, deep friendship, a meal around the table, and being advised by people who don’t need something from them. I think a healthy dose of canniness and cynicism is needed. Part of what brings my Joan Arc down is that she buys into it and she gets arrogant and missteps.” Anderson remarks that for all
their side to just do the tasks and to chat and to have that lovely companionship. Joan is not that type of girl.” Anderson easily pulled this theme from her own memories. “I know my mom wanted to bond with me,” she says. “She did on an artistic level, but she couldn’t on other levels. As a son or daughter you don’t fulfill everything that your parents want. You are your own person.” Anderson says that parents taking in Maid will be overwhelmed with compassion for the characters, and will certainly be able to relate on some level. “I hope the play moves people deeply, and that sons and daughters will understand what their ambitions mean and what it does to their parents. I hope I give people just a sliver of light when it comes to moving on from grief.” MOTHER OF THE MAID is at the *
Public Theater through Sunday, December 23rd. publictheater.org ---
Iris Wiener is an entertainment writer and theatre critic. Visit her at IrisWiener.com
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