Wendi McLendon-Covey’s Recipe for Working Consistently in Hollywood

Wendi McLendon-Covey has very little free time lately. This winter saw the “Bridesmaids” standout concurrently shooting two shows: ABC’s “The Goldbergs,” now in its seventh season, on which she plays matriarch Beverly Goldberg, and a reboot of the cult comedy “Reno 911!” on which she reprises the role of Deputy Clementine Johnson, premiering May 4 on Quibi. Here, McLendon-Covey discusses the importance of advocating for yourself when meeting with agents and how to reframe rejection as a part of the learning process.

What has the challenge of shooting two shows at once added to your acting skills?
This is going to sound so actor-y and obnoxious, but I don’t know how else to say it: You have to be very present at all times and compartmentalize. When you’re playing Beverly, that’s its own thing. Pay attention, don’t let anything else creep in. When you’re off that set, shake it off, go on to the next thing. I’ve done that a couple of other times, double duty. The best thing you can do is make sure you’re sleeping, make sure all your prep work is done at home because there's no time to do it on set, and enjoy the ride, because you’re lucky to get to do two things at once. But you really have to do all your homework at home.

I’m sure you’re not auditioning much these days, but how do you typically prepare for auditions?
It’s funny you ask that, because I did audition for something recently that I wanted really, really bad. I said, “I’ll do anything. I’ll read, I’ll tape.” I don’t even care if the part is big; I want to be in this camp, so to speak. For some reason, I was always a procrastinator. I wouldn't start preparing things until the night before. That’s how I would cram for tests in college. And guess what? That’s a terribly inefficient way of doing things! [Laughs] This time, I had the luxury of getting the material a week in advance. I would carve out time every day to sit in front of the mirror and watch myself. For some reason, that’s really hard for me, but it’s so helpful to watch myself struggle through these things and play with different reads and play with different emotions. I had done it so many different ways that when it was time to get into the audition room and they asked me to make adjustments, I was able to do it without going to pieces and without forgetting my lines. That seems like a very obvious thing to say, but hey, how many actors don't do that?

What’s the wildest thing you’ve ever done to get a role?
I’ve heard of people writing letters to directors and stuff like that, and I haven’t reached that point, but I see where there’s value in it. Maybe I should be a little more adventurous, but I haven’t done that yet. I usually just tell my team and they arrange something if they can. I’m always afraid of making a pest of myself, but maybe I should!

What is your worst audition horror story?
There are a couple of times when I’ve actually stopped an audition and said, “You don’t want me to keep going, do you?” And in one case, they did want me to keep going. I guess they were really desperate to fill the part, but I was sucking so badly. My self-awareness kicked in and was like, I’d love to put myself out of my misery. This is not working! And the casting director kept making me stay and do things. I felt after a while it was more of a power play. She didn't want me for the part, and I didn’t want the part, and she kept harping on me. I was in there for about 50 minutes! It was so weird! I felt like, if I run to the door, is that door going to be locked? Does anyone know where I am? Most of the time, I’m aware when I’m being terrible. It’s also just a part of it. You’re going to go through those bad auditions. Plan on it, check it off, and add it to your list of funny stories about this business.

What advice would you give your younger self?
I would say, take the word rejection out of your vocabulary. I hear a lot of actors saying this all the time and it drives me nuts: “You just deal with so much rejection.” Well, then why are you doing it? You’re crazy. Think of it as “Hey, I’m putting in my time, I’m going to a free acting class every time I go on audition, I’m building my skills, I’m doing the groundwork, it’s a numbers game [and] my number will come because I’m doing good work.” If you put that spin on it, it takes a lot of stress off it for you. It’s a lot better for your mental state. If you’ve got a negative connotation with everything you’ve got to do to lay the groundwork, please do something else. Go and be happy.

How did you get your first big break? Who was the casting director who cast you?
My first big break was, if we’re going to go all the way back to SAG cards, I got Taft-Hartleyed for a promo spot for the show “Just Shoot Me.” This was back in 1999, 2000. I was like “Yes! I’m in the union now, finally! I don’t have to go chasing vouchers.” That was a huge deal for me. “Just Shoot Me,” oddly enough, starred George Segal, who now plays my father on “The Goldbergs.” Getting into the main company at the Groundlings was a big deal and exposed me to people that I never would’ve met otherwise. That was a great showcase. And then getting “Reno 911!” That was a big deal. That was Julie Ashton’s casting assistant who saw me subbing for someone in a play and she brought me in. That was in 2002. I’ve been lucky to work pretty steadily ever since.

How did you land your first agent?
Oh, my God, I’m sending love to anybody out there who’s going through this process. Your instinct will be to grab the first person who’s willing to sign you, but don’t do that because that’s just like not having anybody in the long run. The best way to get an agent is by showcasing. Get yourself into some plays, get yourself into a theater group, student shows at UCB, the Groundlings. Be active that way until you can get an agent. Create that content until you get an agent. Don’t just send out résumés and pictures and wait for the calls to come in. Sometimes, they’ve got to see you live. And don’t sign with an agency that isn’t going to push you and believe in you. When you're meeting with people, tell them, “In five years, I want to be in this place. How are you guys going to help me in development? Do you have a literary department? Do you represent people across the board? How can we work together to get me from doing commercials to getting on your theatrical board? What do I have to do? Tell me, and I’ll do it.” Be hungry and let them know you have a vision. Don’t give that power away.

What performance should every actor see and why?
If you can, see somebody do the one-character play called “Buyer & Cellar.” It’s 90 minutes of this actor—I saw Michael Urie performing it—and he’s playing all the characters. To watch somebody disappear into these characters; you’re buying it totally. He plays Barbra Streisand! It’s just a masterclass in taking someone on a journey and out of their reality, and I love that. I love going to see things that make me forget where I am, and then you leave the theater going, “Ugh! This is the best job in the world. Why wouldn’t everybody want to do this?”