Laurie Metcalf’s four decades-long acting career spans comedy and drama across television, film and stage. However there’s one dream she has yet to fulfill.

“I’ve always wanted to do a musical,” Metcalf tells me. “But my range of notes is only about seven notes. It would have to be an extremely specific part. I don’t know if that would ever be in my future, but I think it would be such a rush to be in a musical.

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“I’m going to start manifesting it,” she adds with a laugh.

Metcalf is currently on Broadway in the preview run of Samuel D. Hunter’s “Little Bear Ridge Road,” a family drama about a woman (Metcalf) who reunites with her estranged nephew (Micah Stock). Opening Oct. 30 at the Booth Theatre, the play marks Metcalf’s seventh collaboration with director Joe Mantello.

“I’m a little tired, but this is my favorite place to be,” Metcalf, who earned Tonys in 2017 and 2018 for her work in “A Doll’s House, Part 2” and “Three Tall Women,” tells me over the phone on a recent Friday afternoon. “We have two previews under our belt and I’m going in for notes this afternoon. We’re fine-tuning things. This is my happy spot.”

“Little Bear Ridge Road” comes on the heels of the release of “Monster: The Ed Gein Story,” the Netflix series starring Charlie Hunnam as serial killer Ed Gein’s and Metcalf as his domineering and religious fanatic mother Augusta Gein. After co-creators Ryan Murphy and Ian Brennan pitched her the project, “I agreed to do it without even having seen a script,” Metcalf recalls.

This latest installment of Murphy’s “Monster” franchise focuses on Ed’s relationship with his mother and how her abusive actions may have contributed to his horrifying killing spree in the mid-1950s. “It’s nature versus nurture, right?” Metcalf says. “I think it’s both cases for him.”

One of the series’ most powerful and disturbing scenes shows Augusta scolding a grown-up Ed as he stands in front of her completely naked. “I’m sitting in that chair looking at a grown man, but I’m lecturing him like he was seven years old,” Metcalf explains. “I’m not seeing him as a grown man, but seeing him still under my care and under my sick supervision. It’s a mother-son teaching experience. It’s simplistic, but warped. But mentally, it was helpful to see him like that.”

Metcalf gives high praise to director Max Winkler. “Despite the subject matter and the tone of the series, the shooting space was really fun,” she says. “It’s hard to picture that sort of work being fun, but it was because it was very collaborative. Max is so open to accidents that might happen in the scene. He would feed me things in between takes that we could do. Some he used, some he didn’t. I really liked working that way. The job itself was a wonderful set to be on, despite how dark it is.”

After filming “Monster” and a week before heading back to Broadway, Metcalf wrapped her next television project, Dan Levy and Rachel Sennott’s eight-episode Netflix mob comedy “Big Mistakes” about two siblings (Levy and Taylor Ortega) who are caught up in organized crime. Metcalf plays their mother.

“I read the pilot, and then I wrote my agent immediately saying, ‘100% want to do this,’” says Metcalf, who earned three Emmys for her work on “Roseanne” and another for a guest spot on “Hacks.” “I saw how unique it was for a single camera, half-hour comedy.”

I tell Metcalf that I grew up in a mob neighborhood in Queens, NY. “You’re gonna like this,” she says. “It’s very, very funny and very unexpected. I don’t think the audience ever gets out ahead of where it’s going.”

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