Richard Kind, a performer whose career spans the whimsical heights of animated fantasy to the sharp edges of acclaimed television dramas and the audacious satire of stage musicals, is currently gracing the London stage in Mel Brooks’ iconic, intentionally provocative musical, The Producers. For a seven-week engagement at the Garrick Theatre, Kind steps into the shoes of Max Bialystock, the Broadway producer whose audacious scheme to bilk investors by staging a guaranteed flop, "Springtime for Hitler," has become a cornerstone of musical theatre comedy. This temporary tenure follows a string of memorable roles that have cemented Kind’s reputation as a versatile and prolific actor, from his turn as a physics savant with a sebaceous cyst in the Coen brothers’ A Serious Man to Joaquin Phoenix’s tormentor in Beau Is Afraid, and as Larry David’s perpetually exasperating cousin Andy in Curb Your Enthusiasm.
Kind’s prolific output and diverse roles have led some to observe his near-ubiquity in the entertainment landscape. When pressed on this, Kind himself chuckles, his characteristic expressive features widening. "Ubiquitous? I’m all over the fucking place!" he exclaims, a sentiment that underscores his tireless work ethic. "Nobody works more than me." This dedication is now on full display in London, as he embodies Max Bialystock, a character who mirrors Kind’s own relentless drive and willingness to tackle challenging, often larger-than-life roles.
A Return to a Broadway Classic
Kind’s involvement with The Producers is not new. He first originated the role of Max Bialystock on Broadway in 2004, a performance that earned him critical acclaim and a Tony Award nomination. Eight years later, he reprised the part in a massive, open-air production at the Hollywood Bowl, an event that drew an astonishing 17,500 attendees. This experience highlights the scale and energy required for the role. "This role is a workout," Kind admits, recalling the significant weight he lost during his initial Broadway run. He affectionately dubs it "The Producers diet," suggesting it’s a far more palatable, albeit strenuous, regimen than more conventional weight-loss methods.
The musical numbers in The Producers, particularly "The King of Broadway," are renowned for their rapid-fire, often bawdy lyrics. Kind describes the process of mastering these demanding songs with a vivid, almost visceral analogy: "Once you’ve learned it all, the words pour out of your mouth like pea soup out of Linda Blair." This quote refers to the iconic scene in The Exorcist, emphasizing the almost involuntary and overwhelming nature of delivering the complex and vulgar lyrics.
Embracing the "Big Bear" Persona
When discussing his interpretation of Max Bialystock, Kind draws a clear distinction between his approach and that of other notable actors who have played the part. He contrasts his own "big bear" persona with Nathan Lane’s more "elegant" portrayal on Broadway and Zero Mostel’s "bulldozer energy" in the original 1967 film. "Nathan glides," Kind observes, "I lumber." This self-awareness of his physical and performative style allows him to imbue the character with his unique brand of energy, focusing on the character’s insatiable appetites and relentless pursuit of success, however morally compromised.
A humorous anecdote shared by a friend suggests the sheer visibility of Kind’s acting choices. The friend reportedly quipped that only two things are visible from space: the Great Wall of China and every acting choice Richard Kind has ever made. While this is a playful exaggeration, it speaks to the distinctiveness and often "outsize" nature of his performances. Kind himself acknowledges this, stating, "I’ve become a better actor in the past 20 years, but this is an outsized show, so my choices are enormous." He finds Max Bialystock particularly enjoyable to play precisely because of the character’s boundless, unquenchable desires.
A Philosophy of "Parsley on a Plate"
In film and television, Kind often occupies a niche, playing supporting characters that, while not the main course, are crucial to the overall flavor of the production. He likens these roles to "parsley on a plate of meat and potatoes. Really good parsley. As green and fresh as parsley can get." This self-effacing analogy highlights his appreciation for adding vibrancy and quality to any project, even in smaller capacities.
However, Kind distinguishes between his approach to screen acting and his engagement with the theatre. He is now at a stage in his career where he can afford to be selective about stage roles, prioritizing those that present a genuine challenge. While he admits to having an ego and occasionally craving a leading role on screen, he maintains a pragmatic outlook. "People may say, ‘Oh, I like that guy. Everything he does is good.’ Nobody says, ‘I’m going to spend £20 to go see Richard Kind in a movie.’ If you accept that, you can be happy and satisfied." This acceptance of his established persona and the audience’s perception of him allows for contentment and fulfillment in his career.
Roots in Improvisation and Hollywood Connections
Kind’s foundational training in acting came from the renowned Second City improvisational troupe in Chicago, a crucible for many comedic talents. This background in improv has undoubtedly contributed to his quick wit and adaptability on stage and screen. His early career included collaborations with comedy legend Carol Burnett and roles in popular sitcoms like Spin City, where he starred alongside Michael J. Fox.
A particularly notable early connection was a failed comedy pilot that co-starred George Clooney. The two actors became close friends, with Clooney even briefly sharing an apartment with Kind. This enduring friendship has placed Kind in a unique position, particularly in light of public political commentary. While Kind is generally reticent to discuss his famous friend’s political entanglements, he expressed deep concern when Clooney faced public criticism from a former U.S. president. "Horrible," Kind sighs, expressing his protective nature towards Clooney. He admits to disliking any negative commentary about his friend and makes it clear he does not wish to give undue attention to the former president.
Ambitions and Artistic Boundaries
This passionate defense of his friend, delivered with an unvarnished intensity, hints at a broader capacity for strong opinions and a desire to tackle complex characters. Kind has even expressed a long-held ambition to play Roy Cohn, the controversial and ethically compromised lawyer who was a mentor to Donald Trump, in Tony Kushner’s Angels in America. This aspiration suggests a fascination with morally ambiguous figures and a willingness to explore the darker aspects of human nature through his craft.
However, Kind is also keenly aware of his artistic boundaries. When asked if there was anything he couldn’t do, he humorously and decisively replied, "I’d make a terrible Blanche DuBois." This self-awareness of his strengths and limitations, combined with his extensive and varied career, paints a portrait of an actor who, while prolific and adaptable, understands the essence of his own unique performance style. His current role in The Producers in London further solidifies his status as a seasoned performer capable of commanding the stage with both comedic brilliance and a deep understanding of character.
