Life After 'Mad Men' For Bryan Batt/Sal Romano
In this interview, Bryan Batt comes out swinging for all queer and trans people, the beauty of New Orleans, and the untold story of Mad Men’s Sal Romano
Interview
Stephenie Magister: Let's just go through the questions. Number one, where do you fall on the queer spectrum?
Bryan Batt: First of all, I don't really know what a queer spectrum is, but I think I would call myself a classic OG gay. I just turned 61 March 1st, and I’m very accepting and open to whatever is new and happening in the gay community and in the queer community. To be completely honest and candid, I'm just getting used to using the word queer, because for me growing up, that was a real derogatory term and a slur. One of my friends said, “Wait a minute, wait, that's what they used to call us when they beat us up.” And I get the idea of taking it back, but it still resonates as a negative. Even by the Webster's old definition of queer, it's something odd or not normal, and I feel like I'm perfectly normal. So there's a dichotomy there, but I get it.
Look one of my godchildren and one of my friends daughters, she's just recently graduated from college and you know she was educating us as she went through this whole thing with the pronouns coming in. Her mother was very intelligent, she was like, “Wait a minute, is it not improper grammar to say ‘they’ or ‘them?’”
And then the husband said, “Well you know when you go see the doctor, you say, “What did they say? You don't say what did he or she say, you just you go to that.” That makes sense. That that solidified that argument. I love her to death, but we knew she had a girlfriend, and then she had a boyfriend, and then she had another girlfriend. One time, she described herself as a WWLW. And I went what's that? And she goes, “Well that's women who love women” And I went, “It's lesbian, honey, you didn't invent it.”
That's my favorite, you know, when you're young, you think you're the first person to experience it. One of my friends grandmother said, “You think Madonna invented sex? Please.”
I was raised in a very, I don't want to say very conservative, but they were a conservative family. Not overly religious, but we did go to church. I don't remember ever hearing that I would be damned for being gay, but it was in the back of my consciousness this isn't right, or it's not accepted, mainly because that's how society saw it. We were never depicted. Growing up, I never saw any representation in any book I read, in any movie I saw, in a TV show. If it was, it was a flamboyant queen, like Uncle Arthur on Bewitched. Something like that where it was a joke.
And I can't believe in my lifetime I have seen such a change. We're still working to see representation. And all these idiots that are crying, “Oh, they're trying indoctrinate!” I'm like excuse me, what do you call what I went through my entire life until I realized that I could be out and gay and happy? I was trying to be indoctrinated to be straight, and you can't make someone a sexuality, you can't make someone trans.
I saw a meme somewhere once, or no, a little interview, where I can't remember the woman's name, but she said maybe we see so many more trans people now because—she equated it to many years ago, like in the 50s or 60s, when they stopped forcing people to be right-handed.
Now we're saying you don't have to be one gender. We’re not forcing it. With human beings, we're evolving, so who knows what's next.
SM: I try to stay humble about it because as we grow older and culture evolves, stuff like this is going to keep coming up. So things about being gay or being trans, to me I feel like I'm on the up and up, but there's going to come something afterwards where I'm going to have to work for it in order to be tolerant and sensitive in the way I ask for people to be toward me.
BB: Exactly, so true, so true. And you know if people follow really follow the teachings of whatever religion—usually most religions are about loving and accepting and being kind to each other, and helping each other along through this journey. If they would really practice it, it would be a lot easier.
SM: Let me ask you something a little more personal. What do we need to understand about your story as a person?
BB: I wrote a play called Dear Mr Williams. It’s my story of growing up in New Orleans, and coming to terms with being gay, and all many other things, but also told through Tennessee Williams words.
So I go back and forth between Tennessee Williams. He guided me to get out, and I really think if I would have stayed in New Orleans where I was raised, in the society that I was raised in, I would have been what I call “up down straight,” get married and then go down to the French Quarter and find a guy or whatever.
And I maybe would have been dead, because that was right at the AIDS epidemic. I like to say I survived the AIDS epidemic. I survived 9/11. I survived Katrina and the pandemic. I'm done, don't give me anything, too many disasters. That's why my friends in California are saying, “Don't come here, don't come here.”
SM: Wasn’t Katrina around when you opened your home furnishings store?
BB: [During Katrina], we had just opened our store. 21 years ago, my husband and I had opened up our shop on Magazine Street in New Orleans. It's called Hazelnut. We named it after my grandmother, her name was Hazel, and she was a nut. Right after we had opened it, Katrina hit, and Tom had some adjusting to do. Having lived in New York for so long, and then coming here was… Although New Orleans is a wonderful, culturally rich city, it's a completely different vibe than New York. When this hit, I said well, here's our out. We can close shop and go back to New York. But I'm not giving up now, not when the city needs us. We dug in our heels, and we really stayed and tried to help rebuild, and become really part of the Princess and the Frog.
The whole idea of the restaurant was based on Miss Leah Chase and her restaurant. She was the first African-American entrepreneur-restaurant-owner in New Orleans, and she actually served to white people during segregation. She could get in trouble for that, but she was just wonderful. Her son had just passed away. He was a wonderful man, too, but she was like this iconic New Orleanian.
We would bump into her at certain benefits, and we’d go to her restaurant Dookie Chase, and one time I was telling her, “Tom's from Pennsylvania, but he makes an incredible gumbo.” And she goes, “We're going to have to have a gumbo contest.” And then one time we bumped into her after Katrina, and she said to Tom, “Now wait a minute, you're not from here right?” And he goes, “No ma'am, I'm from Pennsylvania.” And she goes, “You came back after Katrina and helped rebuild. I now dub you an honorary New Orleanian.” And that just made Tom, I think it made his whole experience here even that much richer.
SM: That's wonderful. I love whenever I hear or read about your relationship with him. It sounds wonderful.
BB: It is, but like you know everyone says, any relationship has its ups and downs, and its work, but I think the best work. We really were very lucky. We met when we were 26 years old. We were doing Evita in Ohio. I was already there rehearsing a couple of days before he was in the ensemble and covered one of the leads, and he didn't know where the rehearsal was, and he literally looked at the roster and saw that I was playing CH. We didn't know each other, he knocked on the door just to get directions, and we kind of like looked at each other—BING.
SM: That's crazy that if that little thing hadn't happened, you might never have met.
BB: Exactly, exactly. And listen, I was still kind of closeted at the time. I have a chapter in the book I wrote called She Ain't Heavy, She's My Mother, and there's a chapter about how Tom and I met. It's called “Don't Cry for Me Akron, Ohio,” because we met doing Evita at the carousel dinner theater in Ohio. But you know, he's stuck by me, he's stuck with me, and we've been together ever since.
SM: I have a question about your acting. Not when you started acting, but could you take us back to when you first realized that you could have a career as an actor? Where were you? What were you doing? Who were you with? Why was that time so important?
BB: That's a really great question. I honestly always loved theater. I loved performing as a child. I did community theater and kids theater when I was younger, and then my father didn't want me hanging around all those queer people. They had to have some knowledge, because I was sent to a child psychologist when I was little, because I was always playing with my mom's hoop skirt, or her wigs and outfits. I’d put on makeup, and when I came out of you know the therapy, I was turned into this little banker, dressed so conservatively it was ridiculous. I tried to play sports and all this stuff, and it was my high school Drama teacher Kitty Greenberg who cornered me in the English Hall, and just really said, “When are you going to audition for one of my plays? You know you want to, you know you'd be good.”
So time's ticking away, and I did it, and I was hooked. It wasn't until I was in college and a friend's mother was an agent, she had opened up a modeling and talent agency, and they said you ought to go talk to her. So I did, and I started working as an actor. I did commercials, and I would do modeling stuff. The funny thing is I never was in a modeling explosion. When modeling in the early 80s was like, the thing, Brook Shields and all.
But you know I had everything going for me. I had the right build, I was the right height, the right weight, I just didn't have the looks. I enjoyed fashion so much, so I really got into it. But I did love acting, that was my big passion. And it wasn't until then that I realized that you could have a career and work. I was also in a band, a New Wave band in New Orleans called The Sing. I just wanted to be on stage. There was something freeing about it, because deep down inside, I was kind of shy, and being very closeted, it was a way to express myself where it wasn't just me.
SM: How did your parents feel about you being an actor?
BB: My father really did not want me to be an actor. My mother was very supportive. He was supportive, he'd come to the plays, but when it was getting close to graduation in college, he's like, “Now what are you gonna do?” And I was like, “Well, I'm moving to New York.” He's like wait, what are you doing? And I was doing a play at the community theater my junior year, at a little petite theater—I ended up being on the board and helped save it from closure—and they were doing a big benefit. We were doing Godspell, and they were dedicating the lobby to Helen Hayes because she was coming through to go on one of these theater cruises. She was stopping in New Orleans.
The woman who was organizing the whole gala fell ill, and they were scrambling and literally they made an announcement to the cast to say anybody know anyone who could take the reins? And I raised my hand and said, “My mother, my mother can totally do this. This is what she does.” She was on boards and stuff like that, and also she was a very talented performer, and just a wonderful, wonderful human being.
My mother was one of the most charming, true Southern Bells. It wasn't fake, it wasn't put on, it was ingrained. She was a lady through and through, but strong, I mean strong. And she met Helen Hayes, and they hit it off, and my father was well enough—he was in and out of illness—all through my middle school and high school and college. After the uh performance, Helen Hayes said, “Now wait a minute, are you related to the young man who played Judas?” And my mom said that's our son, and my mom said, “He really wants to go to New York and be an actor.” And my father said, “Well, we're trying to discourage him, you know it's a tough business.” And she looked at my father and said, “You should encourage him, he's very good.”
So the next day, Helen Hayes over brunch with my parents convinced my father to let me move to New York. And when I opened in my first Broadway show, she sent me a telegram saying, “Welcome, may you have a triumphant stay.” That’s framed on the wall.
SM: That's so sweet, I would keep that too. Wow.
As far as encouraging that early self, what would you tell yourself at the beginning of your career versus where you are now?
BB: My one real regret is that I didn't go to a conservatory, or a real acting program. Like Carnegie Millan, or Cincinnati Conservatory, or Julliard, or Yale, or something. I didn't even try. My father was so ill, they did not expect him to live my senior year. They tried an experimental drug, and so I just decided I'll stay home. I’ll be able to be there for my dad and for my mom. And looking back, that was my one real regret. I got to New York and I thought about auditioning for Yale. And I got my first Broadway show and I thought well, I'm working, so I just kept on working. I blinked my eyes and then now I'm this age, so that's my one regret that I didn't do.
I would tell myself try at least for the best education in acting. I had wonderful teachers when I got to New York, but I really had to learn that the big thing is the process. I am just so result oriented that I forget even at this age that you can start at zero. You don't achieve 100 right at the start.
SM: I am kind of curious, because you have this interior design and home furnishings business, how does your background in interior design inform what you do as an actor?
BB: At the store, it's mainly just a retail home furnishings and gift shop. That's what it is. I've always loved it. I've always loved it. When my mother and my father were building a house, our family home, and my mother was going through the process with decorators and all that stuff, I really was fascinated by how everything came together. I remember going to Houston, no, Dallas, at Dallas Market when they went to go buy stuff, and it was really interesting. I've always loved beautiful homes and architecture. In New Orleans, some of my friends lived in the Garden District, where there are these beautiful old homes with all these antiques and great draperies. And I thought wow, that's just so…
We lived in a mid-century modern house on the lake growing up, and then my father built a bigger, more of—it is what it is—it was a colonial home with the big columns and everything, and shutters. And it was little things, like I remember when they were doing the windows and the doors, and my mother and father, they showed them these shutters that didn't close. They were just decorative on the sides of the windows. And my mom, my father, was like wait a minute, why would they not close and function? If a hurricane or a storm is coming, you close them, and you lock them. That's how it's supposed to be.
Look around, you'll see some homes where they have these little shutters, these big ones, and these little tiny shutters that are just decoration. They don't serve any function, and I found that interesting. And I learned while they were building it because my mother wanted higher ceilings. At that time, there were no Home Depots, there were no places like that. They had to mill the wood, I mean all the moldings. I found that all fascinating. And then the different fabrics. And I also always loved fashion, and I would design dresses for my mom. I loved all that.
I was in New York, taking classes at Parson's School of Design, and I got my first Broadway show. I went down that route, but I still designed, and I love to sketch. A friend of mine just found some of my sketches. He's a wonderful artist in Memphis, and he's coming here to do a show, and he said, “I was going through these old things from college. Is this your fashion sketches?” And there were these really great sweaters. I was like yes, that is. I remember doing that. So he's gonna bring them down for me. It was a window into my distant youth.
SM: As far as your youth, your entire life, I did want to ask you about the Tennessee Williams play. What do you remember most about performing in “Dear Mr. Williams”?
BB: Oh, you know, I hope to do it again. There's some producers that want to do it in New York, so I'm hopeful. I have to get myself back in shape, because it is exhausting to do an hour and 40 minutes of just me on stage. It was, it was really exhausting. And I thank God I lost a lot of weight, which I have to take off again because I've recently had foot surgery and I've not been able to do anything.
What did I like most about it? It was so challenging, and there's a big emotional climax where it's allowing yourself to go there honestly, where it's not histrionic. It's this big emotional part of the show, but you don't want to project it, you don't want to make it obvious. And so to make it organic every night was the challenge. And honestly because it was my story, and it dealt with truths that I experience and other people experience, that did make it easier. Because it was organic, one of my favorite things [is that] some many people have said to me, “Gosh, this is my story.” Another friend of mine who's a director in New York said it's this little window [into what] a bunch of gay men experienced at that time. Right as you're coming out, right as you're dealing with it, AIDS came in. It was like the door opened, and it shut right in our faces.
But my favorite thing that someone said to me, they came in the shop, and this young, young, young lady said, “I've been meaning to tell you this Brian.” She said, “My husband and I came to see your show, your play, and we loved it.” And his father had recently passed away, and his father was gay, and she said after the show, after the curtain, he just sat there in tears, rolling down his face. And she said, “Honey, what's wrong? What's wrong?” He goes, “I think I now understand my father.” And I just started to cry and said, “Well, that's worth it. That's worth everything.”
One of the ways it came about was very funny. There's a Tennessee Williams festival here that I've been involved with over the years, and in the week of the festival, they have what they call tribute reading, where they pick a theme of Tennessee Williams’ works, and they have different people—actors, writers, whoever—read different excerpts. And one year was the Italian summer of Tennessee Williams or something, it was anything he had to do with Italy, but I read these letters that he had written to friends from his first trip to Rome after the war, and they were so brilliantly written, and so evocative, and a little sensual too. And they were so actable. I mean his prose is so actable. So I went to the head of the festival and I said Paul, “You know next year is a tricentennial of New Orleans, maybe we should do an evening of everything of New Orleans.” He said, “Why don't you write it?” I'm like, “Be careful what you wish for.”
So I started to write it, and as I started to write it and do the research, I realized there were certain moments in my life after seeing a Tennessee Williams play or film that it really hit me. Then of course I went with poetic license and interjecting his words through it to get me to New York. But one of the favorite things, I found this quote that was buried in his notebooks, and like toward the end, he was a raging alcoholic and drug user, but this one I put in a play, and I love it. “You reach a point in your life when you look in the mirror and what you see is all you are ever going to be now. Either you accept that, or you kill yourself, or you stop looking in mirrors.” That's great, so profound. Here's the truth. Here are your options. Choose wisely.
SM: I love how you used the quote from him. That's wonderful.
Now if you could revisit any character from your acting past, who would it be?
BB: In what way revisit? Get to do it again or…?
SM: I don't mean a new production with a new story, but if you could revisit an old role.
BB: Gosh, there's so many that I loved doing. I never didn’t enjoy what I was doing, and I'm very grateful for that. There were some little plays that never went anywhere. They're like we are trying to make this work, and it is not working, it's not my fault. I loved the experience of Jeffrey, the character was fun to play.
Then there's others, of course Salvatore, I think Salvatore Romano and Mad Men. Of course he could have had a spin-off, but that was not to happen.
I really loved two of the roles where I was the understudy. I was the understudy in Sunset Boulevard for Joe Gillis, which was a total departure from my personal self. He was a jaded, womanizing writer, just bitter. It was fun to play that part. It was really fun to sing those great Andrew Lloyd Weber songs on that gorgeous set and wear these suits that were made perfectly for you.
Another one was The Scarlet Pimpernel. I stood by for the lead in that, and it was just a great, great character.
You know, you get to play the fop, you got to play the spy, you got to play a romantic lead, and swashbuckling sword fights, and singing these huge ballads. I know this sounds a little egomaniacal, but you know in that show, the way it was staged at the end, we do the curtain call, and everyone takes their bow. The final bow happens, and the curtain comes down, and everyone leaves except for the actor playing the Scarlet Pimpernel. And it's a solo, you got to solo bow on a Broadway stage.
SM: There was an Esquire article in 2015. I loved your imagined future for Sal Romano I wonder where would s be if he were the same age as you today? I don't mean exactly today, but if he were the same age as you. Where would he be if he would have lived to be 61…?
BB: I would love to think that as time went by, he and Kitty are divorced, they might have had some children, or at least one, and they reconciled them and remained great friends.
One of the advisers on the show actually had a life very similar to Sal, and he was still good friends with his wife and his daughter. He and his husband traveled with them, and it was a family, but just in a different way. I would just love to think that that's what would have happened to Sal. I would like to think that he would be able to at least at one point in life live his true open self. However in the world of Mad Men, it never really ends happily, so you know, but if I got to write it, that's what I would have. He would be in a in a caftan in Fire Island having a ball.
SM: I certainly hope so. He deserves it.
Let me ask you about your mother. You had such a strong relationship with her. I love whenever you talk about her. In what ways are you like your mother?
BB: I would like to think that I am [like her]. She had so many great qualities. I'm pretty much like her in the sense that I really have never met a stranger that I'm [not] comfortable chatting with and learning from other people of all walks of life. She was so open, and because she really listened to other people, and that's one thing I need to work on, to just really listen. She was great about that. She was a great conversationalist because she listened.
Both of my parents were very generous, very generous of heart. My father used to say your mother has an identity complex. She thinks she's Santa Claus. I am like that, and I truly love to give more than I like to receive. Like I love finding the right thing to give to someone, or being able to support and help someone. It's hard for me to accept. That’s not true, it I can accept nice things, and kindness too. Compliments are hard. I hear you, but yeah, what else am I like her…?
I think I have a nice smile. She had a beautiful smile, yes. And think I am a kind person. I really try to see the good. Although there's a lot of bad out there, I'm trying find the good. One thing I'm not like my mother, I try not to, I try not to, and every once in a while I'll catch myself rarely, I've gotten much better, but my mother did not like gossip, or talking about other people. She refused. And a lot of women of that era and of that ilk, of that background, it's what they would do. They'd go play cards, my grandmother used to call it playing ladies, but [they’d] talk about other people, and she’d go, “I can never find joy or pleasure in other people's misfortune.” It's just not something that some people do.
I'm trying to think of other things. I like pretty things. I love music. I love to dance. She loved to dance. One thing I do like, whenever I post anything about my mom on Facebook, everyone who knew her, they all just still rave about how she could light up a room when she walked in. She could just make you feel so special. She made everyone feel like they mattered. And they were special. And that is something I'm working on, because it was a true gift, and I learned a lot from her.
SM: That must be where you get it from. Besides your mom, who else are your role models?
BB: Oh my gosh, that's really a hard one. My Aunt Carol, who passed away a couple of years ago. I never heard her say a bad thing about another person ever. I learned early on, you know that moment when you realize your parents are human, and they're going to make mistakes. Because at one point, you just think they're perfect. And so I never tried to admire or worship someone else's life or career too much because you're gonna be let down. But I do love to hear stories of redemption and overcoming adversity and doing the right thing. I think people need to stand up, especially now, against this threat of fascism and authoritarianism in this country, the people have been too silent for too long. It's time. Those are my role models, people that stand up, and not just for themselves but for those who can't.
SM: Yes that's a great answer.
What is a word you love?
BB: “Love.”
SM: And what is a word that you hate?
BB: Oh gosh, I'm so ridiculous. “Hate.”
Now let me think of another word that I love. I do love “redemption.” I love the growth in that word. It's something positive coming from something that was not positive.
A word that I hate? Well, besides hate, bigotry.
SM: What about a sound you love?
BB: You know what? You're gonna think this is crazy. Tom's laughter. First of all, he makes me laugh. He is so witty and so clever and so bright, and his humor is so dry. And it just it cracks me up. He will laugh out loud watching television or a movie. I mean literally guffawing, and it cracks me up. I just love the sound of it.
SS: Oh wonderful. That kind of stuff is contagious.
BB: Yeah, yeah. We're watching—I don't know how it started again, but we've started watching Ugly Betty. And I was on like the final two episodes. And right as I was supposed to continue for a while, I think I was going to be a recurring character, and it was canceled.
The table read I went to is when they found out it was cancelled, and it was like it's over, that's it. I just got there, and it's over. But we started watching it from the beginning, and it's an adorable, funny show. And sometimes, Thomas is laughing out loud. We watched during the lockdown. We watched so many great series from beginning to end, like Mary Tyler Moore. And just getting to laugh. Laughter is everything to me.
SM: Besides the sound of Tom's sadness, what's a sound you hate?
BB: Sound I hate? Gosh, gunfire. Any kind of weapon explosion, anything like that, I just can't stand the sound of that.
SM: This is a deserted island question. And I think that you should include a stage play if you want. What book, movie, or music, or stage play would you take with you if you had to go to a deserted island?
BB: I'd take Auntie Mame (streaming free on Tubi), the movie with Rosalind Russell. Yeah, I know, it just makes me smile every time it comes on. I have to watch it. I quote it. It’s not a fancy highbrow artsy fartsy thing, but you know you know, that's what I would take. For a book, I guess the works of Shakespeare, because it will keep your mind going for a while.
SM: That’s good. I only have a couple of more questions before we wrap it up.
How have you learned to see your differences as worthiness?
BB: I was very fortunate, because I knew at an early age that I was loved unconditionally. My mother and father would say, “We love you no matter what.” Whatever you want to be in life, do it but do it the best you can. And I'm like it doesn't matter if you want to be a ditch digger, be the best ditch digger you can be. Now I didn't even know what a ditch digger did, but I knew that I was unconditionally loved, and that also you know with going to church and all that stuff, my mother was a firm believer. She’d say God does not make junk. I did think when I was realizing I was gay, I was like, “Something's wrong here. Something's not… Why do I not feel this way about women that I should?” We’d be watching Charlie's Angels, and I love the outfits and the hair. I fought it like crazy. I thought this will pass, this will pass, and it never did.
SM: And tell me: how would you like to be remembered?
BB: Just a good person. As a nice guy. When/if people talk about me, I'd like them to say, wow what a great guy. Career and all that stuff is so subjective. We're always at the constant mercy of someone else's opinion. But as a good soul. As a good person. As a kind human being, and empathetic.
SM: Wonderful. I think you will be.
For my last question, what's next for you? How can we stay up to date with everything you're doing?
BB: Follow me on Instagram is the best. Or at Facebook. I used to have a website, I don't have it anymore. Let's see, there's a couple of movies in the can that'll be coming out soon. I post a lot on Instagram and Facebook. I'm there too.
SM: Wonderful. Are you able to share anything about the couple of movies that are in the can?
BB: They just changed the title. It was formerly called The Best Place in the World, and I can't remember the new title of it. But it’s set in Fire Island, and I think it's going to the South by Southwest Film Festival very soon. Bill Irwin's in it, Marissa Tomei, and a young actor, I think he's the lead. It's a wonderful love story set in in Provincetown. I got to film it in Provincetown. It was 2021, no no no, no no no, it was 2022. It was so beautiful. I'd only been there once before in the dead of summer. And it was so crowded. And it was you know so much going on. And it was this, was just, it wasn't crowded. You needed a little sweater at night. And it was it was just so charming. I want to go back in the late spring or the early fall again. but um God I wish I could remember the name of the new title [note: the movie is High Hide].
There's another one, I don't know whether it's going to be released or not, called Red Lonestar Bull, which is kind of a gay action hero kind of film. He's a cowboy. It's fun. Who knows what's going to happen with that.
SM: That does sound fun. And you think that you're gonna have another production of Dear Mr Williams?
BB: Hopefully. Hopefully. Off Broadway.
Other links
Out acting legend Bryan Batt takes the lead
"Mad Men" star Bryan Batt about his life, growing up gay in New Orleans, his family, more
Soul, Sparkle, and Side Dishes: A Candid Conversation with Bryan Batt at Elmo
Discusses being a stand-by for Rosie O’Donnel, did all of her matinees in this interview
Bryan Batt axed from 'Mad Men'
Mad Men's Bryan Batt Closes the Book on Sal Romano (Esquire, quoted by many)
Mad Men: Salvatore "Sal" Romano's Original Ending Was Very Different
‘Mad Men’ Alum Bryan Batt Reflects on Sal, Smoking and His Three Seasons With the Show
Sal From Mad Men Is Glad He Never Came Back
Mad Men Star and Broadway Regular Bryan Batt Describes the Ultimate Vacation for Theatre Fans
'Mad Men' star Bryan Batt marries longtime partner
Gayle Batt, civic activist and mother of actor Bryan Batt, dies at 79
Film Reference lists every role Bryan Batt played
Get to know actor Bryan Batt in ‘Dear Mr. Williams’
I love how you just find people and ask to interview them! You rock!