![]() ![]() ![]() When the 1979 revolution in Iran led the new Texas Ex to rethink work as a defense contractor (he was working in Isfahan just two weeks before the shah was deposed), Pileggi decided to drop anchor back in the city where he'd gone to college. See, the capital city was where Pileggi cut his teeth as an actor in the early Eighties. Mitch Pileggi (left) with Babs George and Aaron Johnson in Tribes ![]() And though tech's levels of intense focus and mind-numbing tedium run so far into the red for so long that even the most patient and soft-spoken of thespians can turn into F-bomb-dropping, raging refugees from a David Mamet play, this was, unquestionably, where Pileggi wanted to be where, as he will tell you, he needed to be: on a stage again – and not just a stage anywhere, a stage in Austin. By the time Mark Snow's spooky theme signaled that Mulder and Scully were back on the trail of the mysterious and unearthly, the company for Zach Theatre's production of Tribes was well on its way through the second dress rehearsal run of Nina Raine's award-winning play about a family confronting what it means to be deaf. When he could have been in front of some huge flat-screen somewhere on one of the coasts, basking in the glory of the much-ballyhooed relaunch of Fox TV's Nineties hit, Mitch Pileggi was instead on a stage deep in the heart of Texas, trudging the last mile of that week-before-opening marathon known as tech, when the director, stage manager, designers, crew members, actors, and every other soul bound to a show spend two consecutive 12-hour days inside the theatre hashing out every single technical detail. 24, while more than 16 million viewers were getting their first look at Walter Skinner in more than seven years, the actor who's played that redoubtable FBI assistant director since The X-Files' first season back in 1994 was languishing in the ninth circle of theatre hell. ![]()
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