"How did you end up in All My Sons?
I met with the director, gee, several months ago. Heh—you do a play set in the ’40s and you start saying things like “swell” and “gee whiz!”
So, no profanity for you?
[Laughs] No, never. Actually, a lot of rehearsals feel like college again, like drama school. It’s nice to be refreshed on why you do this for a living.
Like drama school—as in trust falls and stuff?
Close. I mean, there’s a truth to all those drama-class stereotypes. But most of those things are geared toward camaraderie and trusting your cast. Even the trust fall has its place.
I feel like John Lithgow would drop me, just to be funny.
That’s why you have to work on your trust! You have trust issues, don’t you, Allison?
Busted. All My Sons is about war and profiteering. Is there any talk of pointing out the modern parallels?
The sad truth of it is that I don’t think you need to. The business of war is such a huge umbrella over all our heads. You don’t have to hammer it into people’s heads.
It’s kind of bleak.
With all of Arthur Miller’s plays, there’s the current of deconstruction of the family. I mean, it’s a hard sell. How do you sell Shakespeare? It’s Shakespeare. If we hold up our end of the bargain, it should be great. But I don’t think it’s a big downer.
How does Katie Holmes fit into the group?
She works in great. We’re all coming from very different backgrounds. We’re all in the same boat.
Is she comfortable taking on something as heavy as Arthur Miller her first time out?
Well, I’m not going to give answers for her… I thought these questions were going to be funny! You’re asking me about war, and Katie Holmes’s dramatic whatever. Come on!
Okay, I have a copy here of Time Out New York from December 2000, with you naked on the cover.
Yes. Now we’re talking."
Read the entire interview HERE