“When I go to Times Square I get nostalgic, because I think of myself as a little kid with a brief-case walking around, developing street smarts, wondering if my drunk dad is going to pick me up or not.” A Profile of Natasha Lyonne.
Aaron and Ivette took a gimmicky approach to stage parenting. When Lyonne was five, they legally changed her last name. She recalled that at parties they would have her take sips of their beer and belt out David Lee Roth lyrics “to show off for their friends.” Riding the Long Island Rail Road to auditions in the city, Ivette would urge her daughter to read thestock trades aloud. “It was, like, my street-urchin trick,” Lyonne said.
One of Lyonne’s major creative ambitions is to make a film about the years she spent in Israel—“ ‘Paper Moon,’ but with Jews,” as she put it—but “Russian Doll” is focussed on wrestling with matrilineage. Lyonne’s maternal grandmother, Ella, was a survivor of Auschwitz, and her maternal grandfather, Morris, lost his first wife in the camps. According to Lyonne, they coped with the horrors in their past with a brusque stoicism that left little room for their daughter’s problems.
In 1998, Lyonne enrolled at N.Y.U., but she quickly dropped out. According to the terms of the bridge program, she needed to complete a year of college studies before receiving her high-school diploma, so she never did receive one. “The jobs and drugs were doing this two-handed dance of pulling me away from an education,” she told me.
In “Russian Doll,” Nadia’s self-destructive moments—and the grisly deaths that result—are treated without sentimentality. Lyonne said that she made the character a video-game programmer because she wanted her to confront her knotty predicament “without being spooked by it.” Often, Nadia discusses dying with a detached curiosity. “This is not good or bad. It’s just a bug,” she tells Alan in one episode.
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