Liza Colón-Zayas has been breaking hearts and stealing scenes since the pilot of “The Bear” as Tina Marrero, a Chicago chef who’s hard on the outside but insecure and vulnerable on the inside. (For proof, see her instantly classic karaoke performance last season.) Viewers finally witnessed her backstory on Season 3, Episode 6 of Christopher Storer’s FX on Hulu hit—which is really more of a sensation at this point. Directed by Ayo Edebiri (who also stars as Sydney Adamu), “Napkins” allowed Colón-Zayas to fill in the blanks of her character for both the audience and herself. Here, the New York stage stalwart and first-time Emmy nominee discusses her reaction to the script and takes a walk down memory lane.
1. What was your initial reaction when you read the script for “Napkins”?
I started crying because it was so beautifully written. This job, overall, exceeds anything I have ever dreamed of. And this episode—I feel like it grounded and cemented and explained everything about Tina in terms of how she ended up at the Original Beef, why she wears her armor in that way, how much she loved Mikey [Jon Bernthal], why he was beloved, and why and how we grieve so differently.
Ayo Edebiri’s New Reality 2. What was it like working on the episode with your costar Ayo Edebiri, who was making her directorial debut?
In one word: epic. We are introduced to Tina and Sydney as these two women of color who are at odds for very different but very legitimate reasons. And then, with this episode, to have Ayo wisely guiding us through the story—you don’t physically see her, but she’s there. There have been years of bonding and trust and work between the two of us, and we see that reflected in the story, as well.
Ayo is so smart and so curious, and we collaborated so that by the time we were shooting, it was so natural and gentle. What we’re showing with this episode is: We can do this. We can have women of color tell their stories their way, front and center.
3. Have you been able to go deeper and learn more about Tina as “The Bear” has progressed?
It’s a luxury. Until “Napkins,” I didn’t know what her whole life looked like—that you may have to carry yourself one way at work, yet it doesn’t dictate who you are. There’s this whole other life she has in a loving household, with a good man. Even my brain had been programmed to think that if she’s not sexy and glamorous and young and glossy, then her whole life must be hell. But no; she has a loving, stable family. To know that both you as an artist and this story are being embraced and nurtured and are relevant—it’s incredible to feel valued in that way.
“The Bear” Courtesy FX
4. What performance should every actor see and why?
I just saw a film on HBO—“The Great Lillian Hall.” It’s about this aging theater actress [played by Jessica Lange] coming to terms with losing her lines because she’s getting dementia. Just go watch that immediately.
5. What’s your worst audition horror story?
There was one where the stage directions called for me to pull a flask out of my pocket and take sips. I just was not, at that point, adept at using a flask, and it was so cringey trying to get it out of my pocket and open it. Even now, I think of it and my throat closes up. I’ve gotten much better at using props.
6. As a stage actor, you’re used to performing the same piece night after night. How does that compare with working on a TV series, where the script is always changing?
For television, honor the writing and be open, and it will speak to you; it will inform you. Theater is the same way—just louder and [with] bigger gestures! But it always goes back to that, right? It doesn’t have to be spelled out and spoon-fed to the audience. Being alive and available to the other actor—that is what we’re talking about. You have to always dig deeper and work to find that nuance. And the minute you think, I’m the shit, you set yourself up to be flat and disappointing. Always be available to the person across from you.
7. What advice would you give your younger self?
First, I would thank myself for not giving up. I would tell myself to start therapy sooner. I would say, Never compare yourself to anyone, and…learn to love all of your flaws and insecurities. And be prepared, dammit!
This story originally appeared in the Aug. 1 issue of Backstage Magazine.