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Disappearing ACT ONWARd ANd UpWARd WiTH THE ARTs disAppEARiNG ACT Cate Blanchett branches out. BY jOHN lAHR n Sydney, Australia, on the bright, most of her fans have come to know her. blustery morning of November 10th, Blanchett’s list of twenty-seven movies towardI the end of Pier 4, a “finger wharf” is notable for both its range and its am- that reaches out two hundred yards into bition. In her most recent collection of the harbor and houses the Sydney The- character studies, she plays a predatory atre Company, a little bit of show-biz Nazi collaborator (Steven Soderbergh’s history took place. There, inside a cav- “The Good German”), an American ernous former wool storehouse—now a tourist who is shot in Morocco (Ale- dusty gray rehearsal room—amid a clus- jandro González Iñárritu’s “Babel”), a ter of cameras, lights, and local journalists, British schoolteacher who has an affair the actress Cate Blanchett and her hus- with a fifteen-year-old student (Rich- band, the playwright Andrew Upton, an- ard Eyre’s “Notes on a Scandal,” a per- nounced their appointment as co-artistic formance for which she was just nom- directors of the S.T.C., Australia’s most inated for an Academy Award), and a prestigious theatre, which operates three version of Bob Dylan, complete with big stages. Theatre history is studded with hair and sideburns (Todd Haynes’s “I’m examples of renowned actor-managers— Not There”). “I wanted to be him,” Blan- Molière, Shakespeare, and Sir Laurence chett said of the singer. “It’s the first time Olivier come to mind—but never before I ever had that feeling. I actually wanted had a movie actress of Blanchett’s cali- to be Dylan. Ultimately, he just really bre, at the height of her powers and pop- didn’t care. He’s on his own path.” ularity, made this kind of commitment to At the S.T.C., Blanchett, who calls the theatre community that launched her. herself a “theatre geek,” was following Blanchett and Upton will officially begin her own path. Her appointment was their three-year appointment in 2008, also a strategic coup for the company: after a year of shadowing the current ar- with Blanchett and Upton as artistic di- tistic director, Robyn Nevin. They also rectors, its productions will attract inter- happened to be in the process of staging national press and talent. (Philip Sey- a double bill at the theatre: Harold Pin- mour Hoffman, for instance, will direct ter’s “A Kind of Alaska,” directed by Upton’s play “Riflemind,” later this year.) Blanchett, and David Mamet’s “Re- And for a theatre company that, in 2005, union,” directed by Upton, both of which found itself in the red for the first time opened to strong reviews at the end of in twenty-seven years, Blanchett’s star- November. “Andrew and I are galvanized dom will draw lucrative sponsorship. by a challenge,” Blanchett said. “Frankly, None of this sense of promise and pur- this is the most exciting thing that has pose, however, seemed to catch the happened to us, apart from marriage and imagination of the local press back in having children.” November. When it was time for ques- “I feel the need to move forward,” tions, the journalists seemed nonplussed. Blanchett, who is thirty-seven, told me What if Blanchett got a movie role? they later. “I know it’s going to broaden me asked. Would she have time, in her busy as a human being. I hope it broadens film schedule, to undertake such a job? me as an actor.” She added, “Movie- Did this mean that she and her sons— making becomes a little pointless after a five-year-old Dashiell and two-year-old time. You think, Well, yes, that’s an in- Roman—were going to live perma- credible role, and, yes, it would probably nently in Sydney? How would her celeb- stretch me as an actor. But performance rity affect the running of the theatre? is not, and never has been, really, all of “Celebrity is a by-product,” Blanchett who I am.” Still, it is through film that replied firmly. “If that by-product can be 38 THE NEW YORKER, FEBRUARY 12, 2007 TNY—2007_02_12—PAGE 38—133SC.—#2 PAGE—TITLE CHANGE AT TOP OF PAGE harnessed to the company’s name, fan- chett once described the experience of which, she has admitted, is “very mean- tastic.” After the final question of the acting. A similar metaphor came up over dering—nothing is linear.” proceedings—which, like many before, lunch, when Upton described his view of When I asked Blanchett if she agreed was directed only at Blanchett—she put their family life. “There’s someone on top with Upton about their family dynamic, her hand on Upton’s shoulder. “We’re a riding a bike with a bar and a ball balanc- she said carefully, “There’s something team,” she said. ing the thing,” Upton said. “I think we’re about being an actor that is shaman-like. in there.” It can produce a great amount of super- pton, like his wife, seems to know “In the ball?” Blanchett said. stition in terms of how you connect to it. himself without insisting on himself; “Me and the boys are in there.” To talk about that is very private. Before heU exudes a sort of ironic equanimity. In 1997, the newly married couple spent three months apart while Blanchett was shooting Shekhar Kapur’s “Elizabeth,” and vowed, Blanchett said, to “never ever do that again.” In the decade since then, they have travelled together whenever possible. The S.T.C. offer coincided, ser- endipitously, with their sense that they needed, for their children’s sake, to settle somewhere. Over lunch, at the theatre’s restaurant later that day, Blanchett turned to Upton and said, “If it wasn’t for you, I think I probably would have imploded. Acting takes its toll on people. There’s a kind of madness in it that’s thrilling and wonderful but also can be incredibly de- structive.” She turned to me. “Andrew is an incredibly strong person,” she said. Strength—or the outward appearance of it—is not the first thing that comes to mind when you meet the impish Upton, who is forty-one. His sinew lies in his good-humored stability and in his alle- giance to his wife’s talent. Upton studied playwriting and directing at the Victorian College of the Arts School of Drama, in Melbourne, and has already done a series of successful stage adaptations for the S.T.C., including a tempestuous version of Ibsen’s “Hedda Gabler” (2004), star- ring his wife. He and Blanchett got to know each other in 1996, while working on one of her lesser-known Australian movies, “Thank God He Met Lizzie.” “We were both taken by surprise,” Upton said. “I mean, it could have been a one- night stand. We just kept going. Three weeks into our relationship, Cate says she thought, Oh, God, he’s gonna ask me to “Performance is not all of who I am,” Blanchett says. Photograph by Ruven Afanador. marry him. I’m gonna have to say yes. I asked her three weeks later.” Their de- A flicker of distress showed in her Andrew, in previous partnerships, even cisions to marry and to run the S.T.C. eyes. “That’s not true,” she said. friendships, I couldn’t go there. I didn’t seemed to share an adventurous sense of “In a balancing way.” want to break some spell.” She turned to optimism. “Our spirit is jump in, then “You’re not in the ball with the boys.” Upton. “I met you and I finally could talk just keep going until you can make the “I mean, there’s balancing in it,” Upton to somebody else about that stuff. I feel thing work or not,” Blanchett said. “If it’s said. like every time I make a film or go into a not making sense, you pull it apart and The exchange, in its matter-of-fact- rehearsal room I’ve already collaborated try to put it back together again.” ness, seemed evidence of the clarity that with you on it. The hardest thing is to get “Walking a tightrope” is how Blan- Upton brings to Blanchett’s thinking, up there and voice what it is that you’re THE NEW YORKER, FEBRUARY 12, 2007 39 TNY—2007_02_12—PAGE 39—133SC.—livE ART r15887—CRITICAL CUT TO BE WATCHED THROUGHOUT ENTIRE PRESS RUN! performance,” he said. “I think the hid- den chaos of Cate is so interesting.” Scott Rudin, a co-producer of “Notes on a Scandal,” told me, “She’s very shrewd about what capital she gives up and when. When she gives you the tiniest bit of in- sight into why the character’s behaving the way she is, you gobble it up. I think it’s a combination of alluring and elu- sive.” He added, “It is the elusiveness that is the key.” Blanchett herself made the same point. She was describing her char- acter Lena, a Nazi collaborator in Berlin in 1945, in Soderbergh’s “The Good Ger- man,” which she began shooting, with- out any rehearsal, the Monday after she’d completed “Notes on a Scandal.” The scene Blanchett filmed that day had Lena “Tell your liege it’ll be in the shop for at least three days.” sitting on a bench with an American mil- itary attorney from whom she’s hoping to get the papers she needs to leave Berlin.
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