My Name Is Lucy Barton could win Linney a Tony Award. And maybe a Grammy, too.
Shortly before beginning performances, EW spoke to Linney about reprising the part — for both projects.I’d read it, and then the show came along. Then I read it again, and I read it again. When something is adapted [for theater], it has to come up and off the page. You have to give yourself permission to let that happen.An adaptation is just that — an adaptation — so it’s edited down, it’s rearranged, the narrative is changed.
This Broadway show is co-produced by Penguin Random House Audio. How did you feel about performing an audiobook? Theater needs all the help it can get, quite frankly, and so does literature. Hopefully it’s a mutually beneficial give-and-take. And again, doing the audiobook, I had to let it be a totally different thing. I couldn’t do the audiobook the way I do the play. And yet I wasn’t reading the book!It was tricky. I had been away from the play for a year when I did the recording, and in some ways that was probably a good thing.
] There was a producer who was there, certainly. An Audible person who had me go back. If there was a click or a sound wasn’t quite perfect. But I wouldn’t say it was directed. She was certainly there to answer questions — and I had questions!I have no idea how it turned out. I have no idea, if I listened to it, if I’d like it or not. I really don’t know.I grew up on spoken-word albums. My father had a ton of them. I listened to all of the great British actors.
I was nervous since I’d been away from it for so long. That made me uncomfortable. I wish I’d been able to record it after the run was over. But it’s a great thing for people to have. Just like me as a little kid, thinking about those great actors in London, people [all over] will hear these recordings.With material as good as this, and writing as beautiful and interconnected as it is — it takes time to unearth it all.
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