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HX Article - 4 May, 2001

Say Uncle!

Queer as Folk's Gale Harold finally gets what he wants landing a role off-Broadway. By making his New York theater debut at the SoHo Playhouse in Uncle Bob, Gale Harold has accomplished something he set out to do six years ago: "To be on a New York stage." Probably best known as Brian Kinney on Showtime's smash series Queer as Folk, Harold has studied at the American University in Washington, D.C., and the San Francisco Art Institute before moving [to] Los Angeles, where he continued his studies and eventually landed parts in film and theater -- leading to his role on QAF.

As Brian Kinney, Harold plays a gay Don Juan who is impersonal, icy, selfish and self-centered. In short, he's a first rate prick. Yet Harold brings a certain depth and vulnerability to this character, proving that there's a bit of the selfish, slutty Brian in all of us.

In Uncle Bob, Harold once again brings compassion to a character who isn't likable on the surface. Harold plays Josh, an openly homophobic young man who crashes at his uncle Bob's. However, Bob, played by actor George Morfogen (currently seen as Rebadow on HBO's Oz), has AIDS and is trying to find honor in his situation while at the same time recording [his] thoughts to be played at his memorial service. The two-character play was written by director/actor/playwright Austin Pendleton, who's appeared in What's Up Doc? and Catch 22 as well as Oz. Although the subject matter may seem macabre, the dialogue remains witty and the storyline intense. We recently sat down with Georgia native Harold between rehearsals and shows to talk about theater, Toronto and queer folk.

First of all, what attracted you to the part of Josh in Uncle Bob?

GH: That it was in New York -- I jumped at it! At first, I was concerned about the nature of the play. Not so much the content, but the structure of it. It's not the easiest thing to pull off -- there's really no resolution or catharsis for the audience, nor the characters. But after I re-read it and realized who I was going to be working with, it seemed like an excellent opportunity.

Do you feel a connection with your character?

GH: Josh is a college dropout in his late-20s who has done nothing but go from low-paying job to low-paying job. The play was written in the mid-'90s, when it was a lot easier to drift. I know I felt like this to a certain degree. It's unlike today, when so many kids are getting our of college and making so much money. With commercialism in our commodity-driven society, those not making it are glossed over. In the mid-'90s there was a lot more angst on the surface of people's lives, and I feel that's where Josh is.

From your point of view, what's the play about?

GH: The parallel lives [of two people] who feel they've failed in making an impact on the world. Josh is compelled to make a connection with Bob despite his uncle's ambivalence toward life. Their destructive qualities are revealed by their banter. The sad, funny and pathetic nature of these two people's lives comes out, and you can see everything that's troubling both of them. Then [the characters take] you on [a] roller coaster ride. There's existentialism, suicide, sexuality, and psychological identity.

You play a gay character on QAF, and now you're in a gay-themed play. Do you worry about being stereotyped?

GH: Definitely not. I've met with many different writers and directors for all types of roles.

Has the success of QAF changed your life? Has it opened or closed doors for you?

GH: It's changed my quality of life, but I still have to audition for roles like everyone else. I'm still going in on the first audition with casting directors and striking out a lot of the times. I may have a little more freedom now, but I'm still doing pretty much the same things.

How do you feel about the evolution of your character on QAF, Brian Kinney?

GH: I'm very happy with it. In the [original] U.K. version, the creator, Russell T. Davies, never had the time to flesh out or develop the character. He was never sure of the life of the show, so it was written week to week. That's why I believe Brian came across so harsh. Showtime committed to 22 episodes right off, and that gave the writers time to give Brian an arc and more depth.

I hear episodic television is rigorous?

GH: Seventeen-hour days aren't unheard of, with a seven-day shooting schedule. We taped 22 episodes this season, and it lasted about eight months.

What did you think of your first Toronto winter, compared with living in Los Angeles?

GH: Toronto's a beautiful city with a villagey layout to it. It was cold, but we're all very happy not to be working in L.A. We'd be stuck on a sound stage with no location shots. But it was the coldest winter I ever had to live through.

What are your plans after finishing the run of Uncle Bob?

GH: I plan on staying in New York for a bit. Pending on the writer's strike, I should start work back on QAF in July. After that I should start shooting on this movie for my friend (producer) Suzy Landau.

Would you prefer to work in theater, television, or movies?

GH: I love working on QAF. I never had any idea I'd be working seriously in television. I always wanted to do theater, but then this wonderful opportunity came along. I'm more interested in the quality of the work than its medium.

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