Her prolific theater credits include the Broadway and West End runs of God of Carnage, The Duchess of Malfi, The Grace of Mary Traverse for The Royal Court Theatre and Uncle Vanya for the National Theater (both of which earned her Olivier Award nominations), Much Ado About Nothing in the West End and A Midsummer Night’s Dream for the RSC. That performance also marked her Broadway debut. One of the most respected stage actresses in the U.S and England, McTeer won the 1997 Olivier, Tony, Drama Desk, Outer Critics Circle and Theatre World Award for Best Actress in a Play for her stunning portrayal of Nora in Ibsen’s A Doll’s House. It is also her third collaboration with Lloyd, having starred in the director’s Mary Stuart both in London and on Broadway. It’s her second time in the role, having first collaborated with Lloyd on a production at London’s Globe Theatre in 2003. ![]() McTeer starred as Petruchio in director Phyllida Lloyd’s summer 2016 riotous all-female production of The Taming of the Shrew for New York’s Shakespeare in the Park at the Delacorte Theater. The production garnered acclaim, and an Olivier nomination for McTeer as Best Actress, under Rourke’s direction at London’s Donmar Warehouse, with McTeer starring opposite Dominic West. McTeer returned to Broadway in 2017, starring opposite Liev Schreiber in a revival of Christopher Hampton’s Les Liaisons Dangereuses, directed by Josie Rourke. She is currently filming Ozark as a series regular, season two of which will premiere later this year, and she is starring opposite Krysten Ritter in season two of Marvel’s Jessica Jones. The hubris that the Byrdes have needs some correcting - and they get their medicine every once in a while.Golden Globe, Tony and Olivier Award-winning actress Janet McTeer stars in not one but two Netflix original series this year. It’s like, “There’s a lot of people getting away with this and we’re not.” There’s moments for the audience to feel joy that these big-city folks are getting their necks stepped on by these smart, crafty country mice. What do you mean?īateman: They’re a little spoiled. We’re not saying these are great people who are victims …īateman: They made a decision and they’re almost petulant about how it’s not been smooth. They might be nice, kind and loving to their family. Laura, how do you rate the Byrdes as parents? That’s where laughs live, when the audience can see that they’re not really pulling it off. Those flashes of doubt, vulnerability and losing their dignity is often hilarious. ![]() They’re constantly exposed as being out of their depth. Jason, how is it that “Ozark” is so bleak, but also manages to find comedy?īateman: The route to the humor is that these people are trying to play dress-up. She’s clicking into something she understands, it makes sense to her. She’s in a new place, surrounded by new people with some Proustian things going on because of her own background. She’s at a point in her life where she’s stripped of a past identity. I don’t think she thinks of it as criminal. And she just steps in with a focus that is somehow supported by a subterranean part of herself. She’s not very mature, but she’s very skilled, shrewd. Linney: I think it’s more than a power grab. ![]() Laura, was this Wendy’s Michael Corleone season, as has been suggested? “There was lots of ‘RuPaul’s Drag Race’ being watched last season.” At first, the Juilliard-trained Linney says, “For me, it’s like reading a book - I just put it down and walk away.” But when Garner admits to relaxing by binging on “Vanderpump Rules,” Linney suddenly remembers that she too has a TV remedy after a long day of Wendy. “She’s moving on to team.”Ī few weeks from now, Linney, Garner and Bateman, who also executive produces and directs episodes, will return to Atlanta to begin production on Season 3 of “Ozark.” Today, however, they settle on a beige sectional in a West Hollywood hotel room to talk about Season 2’s shrinking ensemble, the Byrdes’ abysmal parenting skills, and what it’s like to play such tightly coiled characters. One of those is Ruth Langmore (Julia Garner), a feisty 19-year-old who starts out a “straight-up criminal,” says Bateman, then in Season 2 morphs into something between Marty’s unconventional surrogate daughter (he gives her pointers on money-laundering) and his most reliable employee (she runs Marty’s seedy strip club with a determined fierceness). In the first season of Netflix’s critically acclaimed crime drama, “Ozark,” the tourist destination of Osage Beach, Mo., offers little to financial planner on the lam Marty Byrde (Jason Bateman), his philandering wife, Wendy (Laura Linney), and their two kids besides continuous peril, a boat dock wired for electrocution and sketchy characters.
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