Nathan Lane Opens Up About Career, Identity, and Broadway's Demands
Nathan Lane, the brassy actor known for his iconic performances, describes his intermission routine during Death of a Salesman with characteristic wit: "It's, like, 10 minutes. I pee, I have a cup of tea, I put the jacket back on and I go out and fight my way to the death." This practical, lightly fatalistic approach mirrors the spirit of a man who has spent five decades on stage, from off-Broadway beginnings to Tony-nominated triumphs.
A Beast of a Role: Embracing Willy Loman
Lane's current role as Willy Loman in Arthur Miller's 1949 tragedy represents a pinnacle in his career. "It's taken this long to feel worthy of doing it," says Lane, who recently turned 70. The part demands both emotional and physical endurance, with actors like Dustin Hoffman and Philip Seymour Hoffman having struggled with its toll. Lane notes the loneliness of the challenge: "It's hard to explain unless you're doing it. Nobody understands."
The production marks a long-awaited collaboration with director Joe Mantello and producer Scott Rudin, who returns to Broadway after a five-year hiatus following bullying allegations. Lane initially feared the commercial viability of the intimate play at the 1,600-seat Winter Garden Theatre, joking about ticket prices: "Because I'm not George Clooney, they're not charging $900. For $900, I would go to your home and do selections from the play."
Navigating Public Queerness in the 1990s
Lane's rise to mainstream stardom came with 1996's gay comedy The Birdcage, where he played a drag queen opposite Robin Williams. This presented challenges in navigating public queerness. He recalls a 1996 appearance on Oprah Winfrey's talk show where the host asked about fears of being typecast as gay. Lane was visibly uncomfortable before Williams stepped in to deflect the questioning.
Reflecting on that era, Lane deadpans: "In those days, you might as well say: 'And by the way, I love cock.' But I wasn't ready; I wasn't brave enough." He came out publicly in a 1999 Advocate profile, by which point the secret was already out. "Then it was like: 'Yeah, big deal, we already knew.' So there was no winning that one."
The actor wishes he could go back and reply to Winfrey: "If you're asking me why I'm good at it in the movie, it's because I'm a wonderful actor. And if you are asking me if I'm gay, the answer is yes." He also remembers an early encounter with fame's dark side: being called a homophobic slur while stuck in Manhattan traffic shortly after The Birdcage's release.
Breaking Out of the Comedy Box
Despite his comedic success in projects like The Producers and 30 Rock, Lane has fought against being pigeonholed. He recalls a 2010 New York Times article praising him as Broadway's greatest entertainer of the decade. "There was something about the word entertainer that bothered me," Lane admits. "I thought, I've been doing this a long time now and he doesn't think I'm an actor."
He began carving a path toward more dramatic roles in the early 2010s, pitching himself for Eugene O'Neill's The Iceman Cometh. The 2012 production radically changed his career trajectory, leading to acclaimed performances in American Crime Story and Angels in America, for which he won his third Tony Award. "By the time I got to Roy Cohn," he says of his Angels in America role, "it wasn't met with that kind of reaction that I got when it was announced that I was doing Iceman."
The Changing Theatre Landscape and Social Commentary
Lane sees contemporary relevance in Death of a Salesman's exploration of success and self-worth. "His self-worth and idea of success is all based on the opinion of others, being liked," he explains. "If you're on Facebook, you understand that concept. If you're an actor, you understand."
He connects the play's themes to current social dynamics: "Today, to do it right now, there's a certain group of white men who feel they were promised something and it's been taken away: they were entitled to something, and it's been taken away by AI, DEI, all the letters, and they're angry."
The actor expresses concern about the theatre industry's challenges, particularly post-pandemic. "More than ever, arts funding and education, it's all under attack on a daily basis," he mourns. "From the Corporation for Public Broadcasting to the Kennedy Center, everyone is struggling."
What Comes Next for a Broadway Icon?
Despite the grueling schedule of eight shows weekly, Lane remains committed to the stage, though he acknowledges the toll: "A play like this takes a toll and costs you to do it. It's also the reason you want to do it." He has upcoming screen projects, including a film with Jonah Hill and Kristen Wiig that reunites him with Bette Midler, and an action-comedy pilot directed by Paul Feig.
As for his Broadway future, Lane muses: "Oh, Jesus, who the hell knows? This could be my farewell to Broadway." Yet he maintains the brazen instinct that has sustained his career: "How do you think you survive in show business, by being shy?"
Death of a Salesman continues at the Winter Garden Theatre in New York City through August 9, potentially marking a fitting exit for an actor who has consistently defied expectations and stereotypes throughout his remarkable career.
