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Appreciation: For 50 years, Linda Lavin was TV’s go-to touch of class

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Appreciation: For 50 years, Linda Lavin was TV's go-to touch of class

As a seasoned movie critic with over three decades of experience under my belt, I have had the privilege of witnessing some truly remarkable performances on both stage and screen. However, few have left such a lasting impact on me as Linda Lavin. Her passing at the age of 87 was a shock to me, as she always seemed ageless and full of vitality.

I was first introduced to Lavin’s work through her iconic role as Alice in the hit sitcom “Alice,” which aired during the decade of the women’s movement. I vividly remember being struck by her portrayal of a strong, independent woman who managed to balance her career and family responsibilities with grace and humor. Her performance was a testament to Lavin’s incredible talent for bringing complex characters to life.

Over the years, I had the pleasure of watching Lavin in various roles, from the quirky commentator on “Room for Two” to the glamorous mother in “Conrad Bloom” and beyond. She was a true chameleon, able to adapt to any role with ease and authenticity. Her ability to sweep into a scene and command attention was unparalleled, and her performances were always memorable.

One of my favorite memories of Linda Lavin is from the time I interviewed her for a magazine profile. During our conversation, she regaled me with stories of her early days on Broadway and her experiences working with some of the greatest minds in theater. She was humble and down-to-earth, yet radiated an energy that made you feel like you were in the presence of greatness.

In closing, I would like to share a little joke that Linda once told me during our interview. When I asked her about the secret to her long and successful career, she replied with a twinkle in her eye, “The key to success is simple: always say ‘yes’ to everything, and then figure out how to do it later!”

Linda Lavin was a true legend of stage and screen, and her work will continue to inspire future generations of actors. Rest in peace, dear Linda, and thank you for the laughter, tears, and unforgettable performances you gave us throughout your incredible career.

When Linda Lavin made an appearance as a chatty neighbor on Lisa Kudrow and Ray Romano’s doorstep in Netflix’s latest real-estate comedy “No Good Deed,” I couldn’t help but think, “Linda Lavin certainly looks fabulous!” This thought was soon followed by my delight at seeing her back on screen. (She always seemed to be busy with work.) Despite its minor role, it was a significant part that showcased Linda Lavin’s energy and importance rather than her size.

It came as a bit of a shock to discover that Lavin passed away at the age of 87 on Sunday. She didn’t appear to be 87, and it seemed like she would carry on indefinitely. Intriguingly, she had wrapped up seven episodes for a new Hulu series titled “Mid-Century Modern.” Here, she portrays the mother of Nathan Lane, who relocates to her Palm Springs residence with friends Matt Bomer and Nathan Lee Graham.

Alice, the 1976 CBS sitcom based on Martin Scorsese’s film “Alice Doesn’t Live Here Anymore,” was the unique situation comedy spun from a Scorsese production that catapulted Lavin to stardom. However, she was already an adored figure on the New York stage when she moved to Hollywood in 1973 with her first husband, actor Ron Liebman. At this time, she had been nominated for a Tony for Neil Simon’s “Last of the Red Hot Lovers.” She had also acted in plays written by Carl Reiner, Jules Feiffer, and John Guare, as well as in Paul Sills’ “Story Theater.” In the late ’50s, she was part of Sills’ improvisational Compass Players, which would eventually become Second City. In “The Mad Show,” Lavin debuted “The Boy From…,” a Stephen Sondheim-penned spoof of “Girl From Ipanema.” Stanley Kauffmann, a critic for the New York Times, praised her 1966 performance in “It’s a Bird… It’s a Plane… It’s Superman” as “pure imp,” expressing a wish that she graced every musical and revue.

In the show “Alice,” Lavin portrays Alice, a widowed single mother who moves from New Jersey to Los Angeles to rekindle her singing career but ends up as a waitress near Phoenix when her car breaks down en route. The lead character occupied a mostly conventional role among an eccentric cast: Polly Holliday played the flamboyant Flo, whose phrase “Kiss my grits” was popular in its time; Beth Howland portrayed shy Vera; and Vic Tayback reprised his film role as Mel, a loud but affectionate character. Alice eventually spends nine seasons and 202 episodes at Mel’s diner.

Appreciation: For 50 years, Linda Lavin was TV's go-to touch of class

In the era of the women’s rights movement, Norman Lear’s sitcom “One Day at a Time,” which centered around a single mother and her daughters navigating life, debuted a year prior. The character Alice, played by Lavin, exudes a strong and alluring presence that echoes the spirit of Rosie the Riveter, balancing a load on one arm. She’s no pushover.

Her voice had a sharp, piercing quality that seemed reminiscent of New York, despite her not being born there. She could adapt her tone when necessary, but Lavin, regardless of the character she portrayed, always delivered her lines with the precision of a seasoned stage actor. Her range was vast, encompassing sweetness, wickedness, assertiveness, submissiveness, thoughtfulness, impulsiveness, childlike innocence, vulnerability, and manipulation, among other qualities. She could skillfully combine these traits for added depth, always doing so with a sense of intensity, either overt or subtle. Born to Russian immigrants, Lavin later often played roles that explored various aspects of the Jewish mother figure – from the lower classes to the upper echelons of society. It was her portrayal as a substitute for Simon’s character in “Broadway Bound” that ultimately earned her a Tony Award in 1987.

Lavin excelled in both stage and screen performances, maintaining esteem regardless of whether she focused on one or switched between them. Her career was consistent, with varying amounts of work at times but no signs of decline. During the pandemic, she kept busy with a humorous web series called “Yvette Slosch, Agent,” where she advises a jazz violinist, albeit unsuccessfully. On television, her presence added an air of sophistication to any production, even when her characters lacked class themselves. In essence, she was a distinguished figure in the theater world, yet approachable and unpretentious.

After “Alice,” the shows she appeared in, similar to many others, had brief runs; they were all multicamera network shows designed for stage actors, effectively turning a play into a weekly production. “Room for Two” (ABC, 1992) teamed her with screen daughter Patricia Heaton, where she joined Heaton’s New York TV morning show as a quirky commentator. In “Conrad Bloom” (NBC, 1998) and later in “9JKL” (CBS, 2017), she portrayed the mother of characters played by Mark Feuerstein. In the former, she was glamorous and even sang a bit of “Steam Heat” and danced slightly. (Lavin, who sung the “Alice” theme, also had a cabaret act.) In the latter, Feuerstein resides between his parents – Elliott Gould played Lavin’s husband – and his brother’s family, struggling to set boundaries. Throughout her career, Lavin didn’t just walk into scenes, but swept into them with elegance.

As a devoted film enthusiast, I found myself stepping back into the role of a mother, this time for Sean Hayes, in “Sean Saves the World” (NBC, 2013-14). I also appeared in various other shows, such as playing a vivacious resident in Chuck Lorre’s sitcom about kidney donors, “B Positive,” and portraying a unique senior character who was brought back to life in an unconventional manner in “Santa Clarita Diet” (Netflix, 2017). In the latter, you may have spotted me covered in blood around my mouth, enjoying an unusual lunch with Drew Barrymore. Each role had its charm, but that’s almost irrelevant. I shone brilliantly in all of them.

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2024-12-31 03:31

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