Michael Urie

In Maestro (2023), Michael Urie’s Jerry Robbins rehearses a ballet about sailors on leave. Bradley Cooper moves from rehearsal into the dance, sweeping Lenny and Felicia in among the dancers. We were caught up in it, because the music finally told us something about the pair instead of simply accompanying them. Matthew Libatique’s narrow black-and-white images give these early years a distinct look. The sequence gives us a welcome glimpse of Urie working within an ensemble, though the film belongs to Carey Mulligan’s Felicia.

His breakthrough as the sharp-tongued assistant Marc St. James in Ugly Betty (2006–2010) made more direct use of his comic timing. He can give a long, rambling speech a clear shape without tidying away its humour. Away from television, playing Alex More in the solo show Buyer & Cellar (2013) put the burden of holding an audience on him alone. Arnold Beckoff in the Broadway revival of Torch Song (2018) was another substantial stage part. He has continued to combine theatre work with his screen roles.

In Shrinking (2023), his Brian benefits from the preparation and precise execution that make Urie a reliable supporting actor. He gives comic and dramatic beats proper attention, even when the programme itself is in a hurry. Our reservations about it are substantial: grief is rushed, and Jason Segel’s therapist is allowed to cross boundaries without enough scrutiny from the writing. Segel brings vulnerability, while Harrison Ford supplies the dry comedy that makes the programme worth trying. Urie’s care is welcome, but it cannot fix those problems.

There is a risk of asking such a useful comic actor to keep doing the same job. The sharp assistant and the best friend both need skill, but casting him only for those familiar qualities would be a waste. We would welcome more screen roles that ask as much of him as a solo show does.