You might know actor Bruce Davison as the young man who once had a special friend named Willard. Or as the man who had a Longtime Companion. Or as Senator Kelly who was a proponent of the Mutant Registration Act in the X-Men movies. But if you’ve been to the Pasadena Playhouse you’d also know him as the actor who starred in Noël Coward’s A Song for Twilight in 2014. Davison has returned to the venue to star in Native Gardens, a comedy by Karen ZacarÃas that runs through September 30th. The show is directed by Jason Alexander.
In the play, two sets of neighbors find themselves arguing over a fence, property lines and a garden. On one side of the dispute is Christian Barillas and Jessica Meraz, the Del Valles, who have very recently moved into the neighborhood. On the other side of their property live the Butleys (Davison and Frances Fisher.) He’s cultivating a very fancy garden and they have lived in their home for quite some time. When the Del Valles want to replace the fence that separates their property, they discover that the property line isn’t correct – setting up a battle that goes beyond property lines and into issues of race and economic status.
I recently spoke with Davison at the tail end of some very long rehearsals for Native Gardens about his return to the stage, anarchist politics and ignoring good advice.
In speaking with Jeremy Irons recently about his desire to tackle Long Day’s Journey Into Night, the 69-year-old actor said he still needed to take risks at his age and that the process was energizing.  Do you agree?
Well, it sounds like good advice from a youngster. [Davison is 72] What is it Nitzsche said, “If it doesn’t kill you, life is good.” Or rather, “what doesn’t kill you makes you stronger.” I don’t know if I’m going to be doing many more after this, but I’m enjoying this one.
You said recently that having Jason Alexander as your director was one of your main motivations for doing Native Gardens. But I assume if the script didn’t excite you, the wouldn’t be enough. What is it about this play and the character of Frank that inspires you?
It’s a very deceptive play. It is in the frame of a sitcom, but what it’s dealing with are archetypal issues facing us today in a very strong way. People fighting over a fence is timely – timely now and has always been timeless. I think it is inherent in every human being to protect their space and this comedy is about that.
What are the challenges in making Frank more than a guy simply concerned about his garden?
They all have to be a bit bigger than life. But they represent something that has to be really real. Frank is a New Englander. He comes from the land of “don’t tread on me.” In finding his New England side it’s given me a place and a ball to put a lot of the comedy in and a structure and a way to make him bigger than life. It’s hellzapoppin’. It’s taking something 23 inches and blowing it into World War III. Anyone with a yard and a neighbor with any dispute will enjoy this and get to laugh about it.
In 1992 you told the Los Angeles Times that you didn’t like to talk too much politics because you were “kind of an anarchist anymore” and that “The world had turned very cynical.” How do you feel in 2018?
At one time I got to work with Arthur Miller, a great hero. Around that time I said to him, and we were doing The Crucible at the time, “aren’t these horrible times?” He said, “No, the media is making things much more present and I don’t think the blacklist could have happened with the media if it were the way it is now.” We’re in another universe and another planet. It’s beyond…I don’t have a word beyond ludicrous.  I remember sending missives to friends at the time, “doesn’t anyone know the emperor has no clothes?” All I can do is hold onto Lincoln – “you can fool all of the people some of the time and some of the people all of the time…” Let’s hope as the midterms come that we can’t fool all of the people all of the time.
The character you are playing in Native Gardens is a Republican. What’s tougher, playing a Republican or a gay man during the height of the AIDS crisis whose partner is dying of the disease?
Oh God, that’s a good one. I’d say it’s a toss-up. Finally in the end you have to find the love and humanity in every character you play. I come from a family that’s Republican. It’s not that I’m not going to love them. It’s who we are. If we don’t find out common ground, we’re lost. That’s what this play is about.
You’ve talked about advice director Robert Aldrich gave you about being a character actor versus a leading man. Does following that advice allow you to take more risks?
I told him to go fuck himself when he gave me that advice. The reality of the world closed in and that’s what ended up happening. That was the road I was pushed into. I did The Elephant Man and reinvented myself and decided I would do supporting parts. The wisdom he had I didn’t have in my 20s. I wanted to get that brass ring instead of what is my life going to be. There are always brass rings, but they are not always even made out of brass. For me the joy has been to realize it’s a river and I can survive by realizing something else will come along.
Growing up you played “Flash Gordon” in your neighborhood. What would that young boy think of the career you’ve had?
Wow. I’d forgotten about that. He’d say, “Boy, that’s an old fucker.” I don’t know. I remember seeing 2001: A Space Odyssey and we were all stoned and riding on the subway looking at the front cars that went forward afterwards down 72nd Street.  I thought, “In 2001 I’ll be 54. I don’t know if I’m going to make that.” I feel grateful to have had the career and reserve tank I’ve had for all these years. Especially now with my wonderful family. My son has taken off and is doing great work. My daughter is getting into the theatre herself.  Life is good.
All photos by Jenny Graham