Jenna Russell on Hitting Kit Harington Over a Big Games of Thrones Spoiler & Why Their Doctor Faustus Is 'Crazy'

Jenna Russell has a 2006 Olivier Award and a 2008 Tony nomination for her performance as Dot/Marie in Sunday in the Park with George, but the musical theater regular has since shifted to the classical stage to play Mephistopheles opposite Game of Thrones star Kit Harington in the title role of Christopher Marlowe’s Doctor Faustus at the Duke of York’s Theatre. Broadway.com caught up with the enchanting performer to talk short hair, intermission karaoke and her celebrity co-star.

How do you like doing an Elizabethan classic after a stellar career in musicals?
It’s totally thrilling! The fact that I was even offered the job has to do with the joy of getting older and the freedom that comes with that, especially from younger directors. There’s a completely different landscape with them—they don’t see age or gender or ethnicity; they just see what they think you can do.

Did you know the play at all?
I’d never seen Doctor Faustus, but I’d obviously heard of it. I was doing Grey Gardens when the email about it came through, and I said to [co-star] Sheila [Hancock], “Is there anything for women in Faustus?” And she said, “No, the only thing I can think of is maybe they’re messing around with Mephistopheles”—which indeed they were!

How does that work in practice?
Well, there’s a lot of wandering around in nighties! But the role is tricky because she changes. There’s the thing where she wants to please Faustus but also to lead him to despair; she’s taking him from the light all the time because she wants the light.

It’s a pretty out-there production across the board.
It’s a crazy old production, and people love it or loathe it, but what’s great is young people are coming and they’re loving it. To me, the result is like a painting where everyone has some paint and we’re all putting color on it and then some of that color gets taken out, with [director] Jamie [Lloyd] obviously the boss who gets to choose.

And for a non-musical classic, you get to do a bit of singing at the intermission.
I don’t get any time off. That began with one of those silly conversations about, “maybe you should do a medley,” and then before I knew it, they were having conversations about securing the rights to songs like “Bat Out of Hell” and Cliff Richard’s “Devil Woman.” It was really fun when we had our gala night: there was a guy there who was like a stage mother and he was shouting to everyone, “Get back in the auditorium! Jenna’s about to start singing.”

I love it—and the shorn locks, as well.
They’d wanted me to shave my head for Grey Gardens but I said no and then when we were rehearsing this, Jamie [Lloyd] said, “I think you should shave your head; you’d look really cool.” I said, “I can’t, but I will go short”—which is what you’re seeing onstage.

What does your daughter make of all this?
Betsy is seven, so she’s of an age where she loves everything I do. She says, “Your hair looks amazing, mum,” even when I’ve just woken up and look like a lunatic. The funny thing is, she’s the only one in the family now that has hair. She’s also always saying to me, “Send Kit [Harington] my love,” even though she’s never met him and has no idea, really, about him.

We have to talk about Kit, who has returned to the stage for the first time since becoming a global star with Game of Thrones. Are you a fan of that series?
Bizarrely, I am a big fan of Game of Thrones. I’d watched Breaking Bad and finished it and was really quite depressed and [casting director] Al Coomer went, “Try Game of Thrones.” And I said, “No, it’s all boobs and dragons and silly stuff,” and he said, “No, it’s really good, and there are these brilliant roles for women.” He was right.

Did you and Kit talk Jon Snow when you first met?
I did say, “I have to let you know I’m a big fan of Game of Thrones, but you really mustn’t tell me what happens because I want it to be a surprise,” and he said, “No worries.” Then every time people would mention it, I would stick my fingers in my ears. He let slip one day how long his contract was, so I hit him. He said, “That doesn’t necessarily mean they use me,” and I said, “Yes it does!”

Kit is the reason for this production, of course.
He is, but Kit’s a theater animal: you know that as soon as you meet him. When I go out after the show, there are usually about 150 people waiting for him and cheering: it’s the best thing I’ve seen ever. I remember at our first preview, he walked back on for his bow and there was the audience straight on their feet and I thought, “What a lovely thing for someone who’s been away from the theater for six years to find your fan base really happy to see you.” It must be lovely for him.

Is it like when you played opposite Ewan McGregor in Guys and Dolls?
It’s similar in that the audience stays around at the end because they’re there to see Ewan and Kit, but the difference is that Faustus is very dark and soul-searching, whereas Guys and Dolls was like the biggest love-in in the world, so you’re left with something quite different at the end of the evening.

Is there any chance of a commercial transfer of Grey Gardens following the run at Southwark Playhouse at the start of this year?
I’m still hopeful while remaining aware that this is not Mamma Mia! and is never going to be, so there’s got to be a way that we could do an eight-week run in a small house without needing to run for a year.

Maybe they could get Kit to play the young Kennedy?
Oh my God, now there’s an idea!  I’ll ask him tonight.