*Gail Bean has built a reputation as one of the most emotionally electric performers of her generation, captivating audiences in projects like “Snowfall,” “P-Valley,” and “The Belko Experiment.” Now she brings that same depth to the Geffen Playhouse in Los Angeles in “Table 17,” where she stars alongside Biko Eisen-Martin in Douglas Lyons’ intimate new play about love, forgiveness, and the beautifully messy art of trying again.
For Bean, the themes of the play hit close to home. She shared that she once experienced her own “Table 17 moment” with an ex, a time when the heart wanted one thing but communication fell short.
“For me, it was a real-life ‘Table 17 moment,’” she said. “The heart wanted one thing, but the communication just wasn’t there. It taught me a lot about patience and honesty, and how fear can make you hold back what should’ve been said out loud.”
Bean has also been candid about confronting her insecurities as she steps back into the vulnerability of live theater. She said the opening scene of “Table 17” brought up a lot for her—physically, emotionally, and mentally.
“I had to face the parts of myself I nitpick,” she said, noting how easy it is to overthink your body when you’re exposed onstage. Stepping into Jada pushed her through that self-doubt. The character’s boldness, even in moments of uncertainty, became something Bean leaned into—and ultimately grew from.
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Joining the production as the newest member of the cast, Bean said any nerves she brought into the room faded thanks to the support from Eisen-Martin, the team, and director Zhailon Levingston.
“They welcomed me from day one,” she said. “There was no ego, no tension—just space to breathe and really work.” She credits Levingston with creating an environment where she felt seen, valued, and able to explore the character freely.
Working at the Geffen Playhouse has been another highlight, especially as the institution enters a new era under Artistic Director Tarell Alvin McCraney.
“You can feel a shift happening at the Geffen,” Bean said. “It’s bold, it’s inclusive, and it reflects the world we actually live in. It’s exciting to be part of that kind of change.”
Beyond “Table 17,” Bean is preparing for a major career milestone with her leading role in the untitled “Snowfall” spinoff. The new series picks up roughly a decade after the original show’s ending and follows Wanda and Leon as they navigate a new era in 1990s Los Angeles. Bean emphasized that viewers should not expect a duplicate of “Snowfall.”
To capture the difference in tone and direction, Bean put it simply: “This spinoff isn’t just another season — it’s a new chapter. It picks up years later, so if you loved ‘Snowfall,’ expect something deeper, more mature, more about the roots of family, trauma, and redemption.”
For more on “Table 17,” visit the Geffen Playhouse.
She added another reflection on the opportunity: “I’m truly thankful. Giving Wanda a second life — one where family, healing, and growth take center stage — feels like the right story for right now. It’s a powerful continuation of what we built.”
For Bean, both “Table 17” and the upcoming spinoff reflect where she is creatively: grounded, introspective, and ready to expand her range. “I’m in a season of rediscovery,” she said. “On stage, on screen, and within myself.”
From the column: Black in the Green Room
By Keith L. Underwood
Follow: @mrkeithlunderwood (IG), @blackinthegreenroom (IG), YouTube, TikTok, and Facebook
Keith L. Underwood is a writer, producer, director, and former celebrity publicist whose work explores the intersection of Black culture and entertainment. He is the creator and host of Black in the Green Room, a syndicated column and radio series spotlighting Black creatives in television, film, theater, and music. The column runs weekly in the Los Angeles Sentinel, and the companion radio show airs on KBLA Talk 1580. The series can be seen on YouTube (@blackinthegreen) and heard across most major podcast platforms. You can also follow Keith on Instagram (@mrkeithlunderwood), TikTok, and Facebook (@keithlunderwood).
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