From KCRW, Santa Monica and KCRW.com, this is The Treatment.

Welcome to the treatment, which you can also hear at KCRW.com.

I can't think of anybody who moves this gracefully from stage to film to television as my guest, Stocker Channing, who hasn't been here since 2002 with the business of strangers.

So it's good to have her back here.

First time I remember seeing you really was in a hot towel with Garrett Graham with him going,

it really cooks, baby, and that TV show you did in the 70s. The stalker Channing show.

Yes.

You moved on.

The font alone of that title is pretty much locked in time for me.

But you move, you're not locked in time. You moved on and I saw you on stage in a day to death of Joe Egg. It's pretty much locked in time for me. But you're not locked in time.

You moved on and I saw you on stage in the day to death of Joe Egg.

It's currently starring in John Robin Bates' play Other Desert Cities for which you're nominated for yet another Tony Award.

It's so good to have you back.

It's great to see you.

But talk to me about you playing these women for whom language can be kind of a weapon

and also a way to delude themselves. I mean, there's always a subtext in terms of the

character's relationship to language, and that's really very present for Polly in other desert

cities. Definitely. Well, it's true of the whole family. There's five of us, we consider ourselves

a quintet, because we really play different vocal instruments, if you will. And I think that

keeps the audience going. And Polly is a very specific instrument. But because, you know,

basically, Robbie said, we rehearsals, you know this is really, nothing that happens in this play.

Well, but it's all about the interaction between these characters,

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