FRENCHIE DAVIS TAKES “THE VIEW UPSTAIRS”

FRENCHIE DAVIS IS NOT AFRAID TO GET PERSONAL.

The View UpstairsIn The View UpStairs, a provocative new off-Broadway musical set in 1970’s New Orleans, Davis plays the owner of the gay bar where the show takes place. Directed by Scott Ebersold and with music, book and lyrics by Max Vernon, The View UpStairs tells a poignant tale that not only examines the past, but explores how the lessons learned then can guide us in the fight for equality that still persists today.

Frenchie DavisDavis herself is bisexual and has deep family connections to The Big Easy. In her quest to bring The View UpStairs to life, she felt inspired by her own history to inform who her character is and why this story is so important for contemporary audiences. We spoke in detail about this journey, the role of art in today’s world, her days as a contestant on both American Idol and The Voice, and much more.

NAGORSKI: What has been the most exciting part about returning to the New Year theater scene?

DAVIS: The most exciting part of all of this, I think, has been being able to bring the character, Henri, to life and being able to be a part of telling this story.

The View UpStairs is inspired by one of the most significant yet all-but-ignored attacks against the LGBTQ community. As an LGBT woman yourself, you’ve been a vocal advocate for the community throughout your career. Is this what attracted you to this show?

Partially. I was attracted to this show because I thought the storytelling was witty and beautiful.  I believed that this is such an important piece of our history and was really honored to have been considered for it.

The View UpStairsHow does Henri differ from other characters you’ve played on stage?

Well, she’s this no-nonsense, leather-wearing black motorcycle lesbian running a gay bar in the South in the 70s. Let’s start there! But underneath all of that tough exterior, she’s vulnerable and she loves very deeply the community of people who frequent the lounge.

What do you think audience members can learn from The View UpStairs about the fight for equality today?

So much of the dialogue in the show reminds me that even though it may often feel like we haven’t progressed at all, we have actually come a long way. We have a loooooooong way to go, but we have progressed and we should never take for granted the sacrifices those before us have made to ensure that progress.

The View UpStairs takes place in the French Quarter of New Orleans. Have you ever been to New Orleans? If so, how did that experience inform your interpretation of your character/this show?

Yes, I travel to New Orleans often actually. I have family there and it is a place of such rich history. It’s the birthplace of jazz! It’s the only place where slaves were allowed to maintain and practice many of the cultural traditions they carried with them from West Africa. My grandmother got her doctorate in pharmacy in New Orleans! It was the closest city to her hometown where a black woman would have even been allowed to obtain a degree in any medical field.

So I carry all of that with me in bringing Henri to life. Yes, on the surface, the upstairs lounge is a shitty hole-in-the-wall gay bar. But for Henri, it’s a home. It’s a place she takes a tremendous amount of pride in. She’s a black lesbian in the south in the 70s, and yet here she is, running this business and using it as a safe haven for her LGBT brothers and sisters. These are the types of things that helped me to interpret the character of Henri and the show in its entirety.

As a vocalist, what are the most challenging aspects of singing Max Vernon’s score?

Belting F sharps!

Fashion plays a large part in this show as well. Do you have a favorite costume or look that you get to wear?

Well, Henri’s wardrobe is nothing like the stuff I like to wear. Although I have become a fan of the skinny black Levi 512s she wears. I can’t breathe! But I look good!

The show spans two generations of queer history. Who are some historic figures that have influenced you in your personal life?

Audre Lorde, James Baldwin, Angela Davis, Hattie McDaniel, and Bessie Smith to name a few.

 The View UpStairs runs through May 21. Do you already have a sense of where your fans can catch you next after this show wraps?

Probably singing at Pride festivals and doing my cabaret act at various performance spaces across the country.

Simply speaking as a theater fan, what’s your favorite show currently playing on Broadway?

That’s impossible to answer! I love so many of them. All for different reasons.

You’ve been a part of several iconic musicals, including RentDreamgirls and Cinderella. What is your musical theater dream role?

Oh my god, Magenta in The Rocky Horror Picture Show!

As someone who competed on both American Idol and The Voice, which show do you think shaped who you are as a performer more?

Neither of them shaped me as a performer. I was on TV for five minutes. I’ve been doing professional theater for fifteen years.

In 2012, you released your debut solo single, “Love’s Got A Hold On Me,” which went on to peak at #12 on the Billboard Dance Chart. Do you have any plans to release any other new solo music anytime soon? If so, do you plan to continue releasing dance music or are there other genres you’d like to tackle as well?

Well, I will always continue to do dance music. But I would love to do some ‘30s jazz/songbook stuff, as well as some soulful pop stuff. I also love trap music!

You’ve got two new movies coming out this year – We Are Family and Snapshots. As an actress, do you feel more drawn to the stage or to the screen? Why?

We Are Family! Oh my god, I filmed that like 7 years ago! I love both but theater is my first love. It’s what made me want to be a performer in the first place.

As a nation, we are going through some horribly dark, terrifying and divided times. What do you think the role of art is (or should be) as a form of making people feel safer and bringing them together? In other words, do you believe that art has a duty beyond escapism?

Art has always had a duty beyond escapism. I think that it is my responsibility as an artist, particularly as a queer artist of color, to use whatever platform I have to be a voice for justice and equality.

What’s your favorite thing to do to unwind after a show?

I love to come home after a show and listen to my ‘30s/’40s Jazz music playlist while engaging in herbal refreshments or alcohol drinking. Or both!


Click HERE to purchase your tickets for The View UpStairs, now playing at the Lynn Redgrave Theatre in New York City through May 21st.


Originally published on PopBytes

TALKING “NATASHA, PIERRE AND THE GREAT COMET OF 1812” WITH STAR GRACE MCLEAN

Grace McLean

THE RUSSIAN EMPIRE IS CONQUERING BROADWAY.

Later this season, audiences will be invited to journey to the past with the opening of Anastasia, a story based on the 1997 animated film about the last surviving Romanov. But for those looking to explore this era of history through a grittier, sexier, and more unconventional lens, they need not look further than the Imperial Theater.

Now playing there, Natasha, Pierre and the Great Comet of 1812 is a breathtaking and electrifying new musical inspired by a 70-page portion of Leo Tolstoy’s seminal literary masterpiece, War and Peace. Taking a page from more than just Tolstoy, however, this innovative production blends various musical genres, creates a distinct and remarkable ambiance, and demands that its audiences have a theatrical experience unlike any other.

Written by Dave Malloy, The Great Comet tells the story of Natasha (Denée Benton), a young woman who begins an affair with a hedonistic rebel while her fiancée is off at war. When Natasha comes to Moscow, she and her cousin stay with Marya (Grace McLean), a grand dame who commands who’s who within her aristocratic circle. Meanwhile, a man named Pierre (Josh Groban) seeks answers for the existential crisis he faces while he watches Natasha’s new romance flourish.

McLean spoke with me about this ambitious and unique show, its journey to Broadway, interacting with audiences in unprecedented ways, and much more.

ALEX NAGORSKI: As Natasha’s godmother and one of Pierre’s oldest friends, Marya provides a central link between the two titular characters. How do you think her relationship with each of them informs and/or defines the journey they each take during the show?

GRACE MCLEAN: Marya is called a “dragon woman” in the book, and I think this tells us a lot about who she is and what she expects of people. She’s strong-willed and fierce, she loves hard, and she despises laziness of mind, heart, and intention. She loves Natasha because she sees this same fierceness in her, and she loves Pierre because of his lack of pretension. At the point in the story when our show takes place, it is ultimately the clash of ferocities between Marya and Natasha that pushes Natasha over the edge. As for Pierre, I think Marya is there to pull him out of the stupor he’s found himself in and to give him a real call to action – something he feels he’s lost touch with at the start of our play.

You’ve been with this show for several years now, from Off-Broadway to the out-of-town run (in Cambridge, Massachusetts) to Broadway. In your opinion, how has the show evolved throughout its various incarnations?

It has been a real gift and a luxury to be able to work on this show in its various incarnations because although the story itself is largely unchanged, we’ve gotten to play with refinements and details in our storytelling. I think now, at The Imperial, we’ve achieved our greatest clarity in the storytelling because we’ve been able to experiment with ways to achieve both intimacy and a sense of grandness in the staging.

You provide much of the show’s comedic relief. What do you think it is about Marya’s personality and delivery that provides so much humor to otherwise serious and/or complex scenes?

First of all, thank you! I don’t think I approached Marya thinking of her as a funny character, but I think there is something about her severity which, in certain circumstances, comes off as comical simply because she’s in juxtaposition to other very tender and delicate moments. Of course, this severity becomes quite unfunny – or at least I hope it does – when circumstances get out of control. Marya doesn’t like being out of control.

How helpful was the original Tolstoy text when it came to fleshing out Marya and landing on your interpretation of who she is? Who/what else inspired your understanding of her?

It was definitely helpful to have an understanding of Marya within the text of War and Peace, to find out who she likes and why, how she operates within this decadent society, the kind of mother figure she is. Natasha’s mother is very different from Marya, her whole family is really, and I think Natasha needs an authority figure who delights in, fans, and hopefully shapes her fiery nature.

Also, in terms of inspiration, I think a lot about love in this play. There are a lot of different types of love flying around in our show. When I, Grace, can latch on to that, then I start to know what to do with my character. So for me, I’m thinking about deepening Marya’s love for Natasha because that says something about how she’s treated in the first act versus the second act, when Marya is still acting from a place of love – but of love betrayed.

The show’s set is quite possibly the most interesting I’ve ever seen. Without giving too much away, I can say that immediately upon stepping into the theater, the audience is fully transported to Imperial Russia. What do you think this unconventional staging adds to the experience of the show?

I think the audience is asked to step into the world of the play from the moment they step into the Imperial, even before the “set” is seen. It is a total experience, not one that the audience is necessarily asked to be an active part of, but this is what I love about the design- it’s that even in the audience’s passivity, an inescapable and palpable tone has been set to prime them for the story.

As an actress, what advantages and obstacles does performing on such a radically different and unique set present?

I don’t think in terms of disadvantages, so I’ll just talk a bit about the things it has taught me. I’ve had to really become aware of my whole body. Because the audience is all around, I think about finding ways to include everyone. There’s also an interesting game to play between giving something to someone a mile away, and sharing a little secret with someone else right next to you. This all requires great particularity and intention, because people can really see the fake or the phoned in when it’s up close.

The show allows for (and encourages) a good deal of actor interaction with the audience. What has been the most memorable encounter (either good or bad) you’ve had during a scene in which you engage directly with audience members?

Early on, during the off-Broadway run in the tent downtown, we got a lot of good lessons about unruly audiences. There was one night when a woman I was sitting with during “Pierre & Anatole” would not stop shaking her shaker. She was drunk and loud and talking to her friends. I took the shaker from her and she demanded I give it back, but of course I didn’t and kept watching the scene. She grabbed another shaker from one of her friends and shook it in my face. At this point I stood up and tried to take it from her again but she hung on very tight like she wanted to wrestle. Oy! This was a poor decision on my part because it just made both of us look like assholes. So lesson learned! Never get angry at the crazy because then you look crazy too.

Marya is a very fabulous woman who clearly has a penchant for fashion. What are some of your favorite costumes that you get to wear?

I love all of my costumes! They are so beautiful! But truly, my favorite piece is the little jacket I wear to the opera with the fox trimmed sleeves and neck. I want it for my life.

The show is filled with so many high-energy and visually spectacular musical numbers. Do you have a favorite to perform each night?

I wish I could watch them! But one of my favorite moments in the show happens in the middle of the opera right before Anatole makes his big entrance. We all have opera glasses and have been moving in slow motion before we all point our glasses at Natasha and sway in this slow eerie manner as the lights dazzle around her and slowly turn red. Basically, Natasha is getting high and I think this is the moment in the show when the audience feels it too, and can feel the palpable anticipation of something really different about to enter the world of the play.

The music combines so many genres – such as traditional Russian folk music, indie rock, and EDM just to name a few. Stylistically, how does singing this type of “electropop opera” differ from performing a more traditional musical theater score?

I have so much fun singing this music because it uses a lot of my range, not just in terms of notes on the page but stylistically. I get to use many sides of my voice, the rough, pretty, operatic, screlt, choral. And honestly because of the workout my voice is getting and the care required to be able to do all of those things, I’ve never felt healthier.

When you’re not performing in the show, you’re working on your own original music. Your band, Grace McLean & Them Apples, headlined Lincoln Center’s American Songbook in 2015 and 2016, and even toured Pakistan as U.S. State Department musical ambassadors. How do you find the balance between your acting career and being a singer/songwriter?

I find it necessary! I love that I have the opportunity to use my creative impulses critically in my own work because this allows me to approach the show with a fresh and present mind. Honestly, if I haven’t thought about or made other work before I go to the show, it’s harder for me to concentrate on the task at hand. Also, each informs the other. Performing my own music with my band in front of a very real, very present crowd prepared me to be able to perform in a show like this where the audience is very much a part of each moment. There is no fourth wall in a concert, nor is there one at The Great Comet. And I’m writing my own first full-length musical right now, so being inside of one gives me that extra perspective about how to approach character and storytelling, and about how to acknowledge my audience.

What do you find to be more creatively fulfilling – playing a character on stage or expressing yourself through your own original music?

Both are useful in different ways- writing is an outlet for my obsessions, and performing a role is an opportunity to learn about someone else’s.

What is your Broadway dream role?

Fanny Brice in Funny Girl!


Click HERE to purchase tickets to Natasha, Pierre and the Great Comet of 1812, playing now at the Imperial Theater in New York City.

Click HERE to purchase The Great Comet: The Journey of a New Musical to Broadway, a behind-the-scenes look at the making of this acclaimed musical.

PHOTOS | CHAD BATKA

 Originally published on PopBytes

SEX TIPS WITH “RHONY” STAR SONJA MORGAN

Sonya Morgan

EVEN THOUGH THE REAL HOUSEWIVES OF NEW YORK CITY IS CURRENTLY BETWEEN SEASONS, SONJA MORGAN HAS NO INTENTIONS OF TAKING A BREAK FROM THE SPOTLIGHT.

Thus, the outspoken, brazen and wildly entertaining reality TV scene-stealer is currently starring in the Off-Broadway hit, Sex Tips For Straight Women From A Gay Man. And while Morgan is making her stage debut in the raunchy comedy, it’s far from her first outing as a professional performer. With a career in entertainment that spans decades, Morgan has done it all—from modeling to being a film producer to creating Caburlesque (her signature hybrid of cabaret and burlesque performance), and much more.

As she prepares to wrap up her run in Sex Tips on October 22, Morgan spoke with me about the play, her diverse and ever-evolving career, and her own favorite sex tips. She also reflected on the past season of Real Housewives and provided updates as to where things stand now with her Bravo cohorts.

ALEX NAGORSKI: Why is acting something you decided you wanted to explore?

SONJA MORGAN: I tried acting many moons ago when I was in Europe modeling. But I had gone to college for fashion marketing and, as it was my chosen field, I needed to return to the States and get to work in that area. After making good money modeling, experimenting in the acting field was a shock because you make no money at first. But I’ve always enjoyed entertaining and making people laugh, which I have continued to do over the years while developing my fashion lifestyle brand.

michael-milton-stefan-sonja-morgan-robyn-credit-allison-stockTell me a little bit about your character, Robyn. How much (if any) of yourself do you see in her?

Even though Robyn is mousy and an academic, I still relate to her. At times, I have been awkwardly nervous and uptight like her – especially when I moved to New York to attend the Fashion Institute of Technology. But my three gay roommates really brought me out of my shell and boosted my self-esteem.

Are you infusing any of your Caburlesque techniques into this performance?

Definitely! I use it in the delivery of the sexy lines to Stephan. And just like in my Caburlesque, during Sex Tips I am making people laugh and feel better about themselves.

What do you think your own unique and signature brand of humor adds to the comedy of the show?

I have a very similar sense of humor. I like to joke about sex and use the double entendre.

What’s the best sex tip you’ve ever personally received from a gay man?

Be yourself.

Do you think that gay men give better sex tips to women than other women do? If so, why?

Gay men are very open and honest. I think they’re giving people in general.

What’s the best sex tip you’ve ever given to or received from one of your fellow Bravolebrities?

I guess the best sex tip I ever gave Ramona was, “Never bring the boys inside the house when vacationing with friends. Keep them in the garden!”

What’s a sex tip you learned from doing this show that you had previously never heard before?

Well, I have a lot of experience at this point in my life, but I think the play has great advice. It’s funny, it’s sexy but it’s also a story of romance. I’m learning a lot from the experience itself – from working with the team, memorizing the lines, and seeing everything that goes into the whole production. After establishing Sonja Morgan New York, my new fashion jewelry collection, I’m really hitting my sweet spot – coming full-circle in my creativity center.

Your bio in the show’s Playbill is quite extensive. You’re listed as “an Entrepreneur, Luxury Fashion Lifestyle Brand, Film Producer, Writer, Performer, Special Event Creator, and Philanthropist,” amongst other things. Of all of these various responsibilities that you juggle, which do you feel most fulfilled and inspired by?

 I am fulfilled and inspired by all of it. I am being me and expressing myself from the core – through design, humor, special events, performance and the charities I support.

How’s your prosecco line, Tipsy Girl, doing? Where can your fans buy it and what’s next for the evolution of the brand?

The venues are listed on the TipsyGirl.com website and the restaurant is currently being held up by permits. I have been through this before, so I know how my partners feel. It’s a laborious and expensive process upfront.

Filming on RHONY wrapped a few months ago. Which of the ladies have you stayed the closest to in the time since?

As much as they tick me off, I’ll always be close to Luann and Ramona. I was happy to get back on track with Bethenny. I’ve always treasured our friendship. I felt my little “mom and pop” restaurant and prosecco venture was blown out of proportion by the press, exasperated by Dorinda creating a wedge, and Ramona was no help – adding fuel to fire. I’ve always felt Carol understood me, though she can have some bite in her snarky, yet very entertaining, blogs.

Have any of your cast-mates come to see you in this show yet? If so, what did they have to say about it?

Not yet. They always say they are so concerned, yet when I have something good starting up, I hear nothing. No tweets to say “Congrats.” I always support their new ventures. For example, I saw nothing re: my fashion and swimwear. Nothing. Why?

Looking back, what was your favorite moment of season 8?

Showing the viewers that I didn’t have a drinking problem by not partying at all. If I had a problem, I wouldn’t have been able to do that.

Out of all of the girls, who do you think was your biggest ally and your biggest adversary this past season?

I think Bethenny spoke her mind, in the usual fashion I am used to seeing, and she was very hurt. I think Ramona changed. She wasn’t herself. Though she never stands up for me, she is always there to hold my hand. Carol was neutral and there if I needed to talk.

Now that some time has passed, have wounds healed enough for you to attend Luann and Tom’s wedding this New Years Eve?

Yes. I’ve known Luann a long time. I know some things will never change. I’ve always said a man will never come between us.

[PHOTOS: ALLISON STOCK]


Click HERE to purchase tickets to see Sonja Morgan in Sex Tips For Straight Women From A Gay Man, now through October 22 at 777 Theatre in Manhattan.

Originally published on PopBytes

SLICING UP “WAITRESS”: AN EXCLUSIVE INTERVIEW WITH STARS JESSIE MUELLER, CHRISTOPHER FITZGERALD AND JENNA USHKOWITZ

Waitress2066r

SARA BAREILLES HAS BAKED A SMASH.

The Tony and Grammy nominated singer/songwriter’s debut musical, Waitress, opened this past March to rave reviews and instant box office success. Based on the 2007 indie film of the same name, Waitress is predicted to recoup its costs as soon as October. As Forbes points out, “For a new musical that isn’t Hamilton, that’s pretty spectacular.”

Waitress tells the story of Jenna, a waitress in a small Southern town, who yearns to leave her abusive marriage. Also working at the pie diner are her best friends, Dawn and Becky. When Jenna becomes accidentally pregnant, she meets the handsome (and also married) Dr. Pomatter. As she seeks a path to freedom, she sets her sights on a local pie contest as her golden ticket to a new life. Meanwhile, Becky and Dawn look for love in all of the most unexpected places.

Jessie-MuellerI spoke with Tony nominated actors Jessie Mueller (Jenna) and Christopher Fitzgerald (Dawn’s love interest, Ogie), as well as Glee star Jenna Ushkowitz, who has just joined the show as Dawn (following a leave of absence by original cast member Kimiko Glenn). We chatted everything Waitress including their favorite pies, working with Sara Bareilles, their creative processes, inspirations, and more.

NAGORSKI: How did you first get involved with Waitress?

MUELLER: I had a lunch with Diane Paulus and we discussed the project, and then I did a reading in December of 2014.

Jenna-UshkowitzUSHKOWITZ: Kimiko Glenn, who originated the role of Dawn, took a leave of absence. They called me on a Thursday and said, “We’d love for you to come in to meet everybody on Friday to do some of the Dawn stuff.” I went in and did it for a couple of hours and then left. That same evening, I found out that I was going to be joining the cast for a little while. It was all really quick and then I started rehearsals the next day!

FITZGERALD: The producer, Barry Weissler, called me. He and I had a couple of meetings about what we could find to do together. We had talked about a couple of things and then he said, “I’m doing this project. Do you know the movie Waitress?” I told him, “I think I’ve seen it. I’m not sure.” And he said, “Well, here, take a look at it. Somebody get me the DVD!” So he gave me the DVD and then explained, “There’s the small part of Ogie, the poet, who is a very eccentric guy. I’m not sure if it will interest you but take a look and see what it does.”

Christopher-FitzgeraldI asked him, “Well, who’s doing the score?” And he told me, “I think Sara Bareilles.” And when he said that, I was like, “A-HA! She’s cool! That would be interesting.” So I went home and I watched the movie. Eddie Jemison, who plays Ogie, is hilarious. He’s so good. But I couldn’t quite see how some of it was going to be musicalized, especially that character, but I figured why not give it a shot?

Then, they had a reading at their apartment, and there were maybe five of us. So in terms of when actors started to be involved, I’ve been involved since the very beginning. And nobody in that reading (other than me) is still a part of the project. There are all sorts of reasons why that is. We read through the screenplay essentially, and then Sara just sat at a piano and played and sang the songs. It was so incredible! When that reading ended, I was like, “I really want to be a part of this. I’ve got to make sure that I put some effort into continuing to let the people who are making decisions know that I want to be a part of it.”

I met Diane Paulus, our director, at that stage. And then we started doing several more readings, which is generally the process for new musicals. You have to do a lot of readings because you’re just trying to synthesize so many things – story, story with songs, who’s singing, why they need to sing, songs are cut and added, etc. There’s a lot of that kind of process. Through those readings, I was able to start a dialogue with Diane, Jessie Nelson (who adapted the screenplay) and Sara about the thoughts I had. It just became more of a collaborative experience and then we went into rehearsal, and now here we are!

Jessie, you’ve also been with the show since its early days. How has Jenna (and/or your interpretation of her) evolved throughout the process, from the early readings to the A.R.T. run to now on Broadway?

MUELLER: I think (and hope!) she’s grown deeper, and become like more of a second skin. Getting to spend time with a character helps. When I start working on someone, it feels disconnected. But I’ve learned for my own process that it is just that: a process. It takes time. I think in the beginning, I was a bit puzzled by her and by her decisions and choices – a bit like the audience experiences her. But in spending more time inside her, I came to know the complexity of her experience. I don’t judge her anymore. I think I did in the beginning.

Part of what makes you each so captivating on stage is how fully immersed in your characters you get. How do you choose your roles?

FITZGERALD: As an actor, you spend so much time hearing “no.” I’ve heard that word endless amounts of times. Hearing it so many thousands of times, you almost start to have a relationship with that word and that experience. But this was one of those experiences where I was like, “I think I have a handle on who this guy is and this would be really fun to physicalize.” In readings, when you’re reading it, you’re really working on the material. But I was like, “If I could get on my feet, I think I could have a lot of fun with this song.” So I don’t know about choosing stuff, it kind of chooses you, weirdly, you know?

The characters that I’ve played on Broadway, like Boq (Wicked), Igor (Young Frankenstein), Og (Finian’s Rainbow), are all of these weird little creatures. I basically am Broadway’s creature guy. I play all of the weird, non-human characters. So this time around, as Ogie, it’s nice that I get to actually play a man … but he’s also unlike any other man.

USHKOWITZ: Like I say for anything in my life, if it scares me a little bit, that’s always a good sign. If there’s a bit of a challenge, no matter what that is, I’m intrigued. I haven’t done a Broadway show and that rigorous schedule in eight years, so I definitely had to get back into a groove. I enjoy finding characters that are different from what I’ve done before. But it’s also important to make sure that I can relate to them and that my heart’s in it. Otherwise it’s kind of pointless.

MUELLER: I gravitate toward roles that I connect with. There was something about Jenna, and especially the music, that I related to. When I first heard “Everything Changes,” I cried. I’ve never had a child, but there was something that struck a chord. The healing of that song, the transformation, the yearning for renewal, the breakthrough – I found it so powerful. I like pieces that illuminate what it’s like to be a human being on this earth: the good, the bad, and the ugly.

How influential was the film when you were working on creating your characters? What/who else helped you find them?

MUELLER: Very! I came back to the film when we were working on the show out of town. It’s where Adrienne Shelly’s vision started. I think what Kerri Russell brought to the film was beautiful. I’ve since become a huge fan of The Americans and I always think of Dr. Pomatter’s line, “I could find the whole meaning of life in those sad eyes.” She has this amazing life that lives in her eyes. Well, you can’t really access that in a large Broadway house, but it was very influential to me. Jenna’s sadness lies very deep within her.

I also watched waitresses all the time. I searched for photos of people and waitresses at diners, especially those in small towns, or highway truck stops. There’s a fantastic book I got called Counter Culture by Candacy A. Taylor. And I found myself listening to a lot of country/folk music. There’s a Kacey Musgraves song called “Merry Go Round” that I got obsessed with for a while.

USHKOWITZ: I saw Kimiko’s performance right when the show first opened. She was wonderful and I wanted to keep the integrity of what she worked on. Especially during the rehearsal process with the girls, I wanted to make sure that we were keeping with the vision of what everybody had created. But obviously, Kimiko and I are so different, so it was also important to keep that and then wash away the rest.

I loved, loved, loved the movie when I saw it years ago, but I have not seen it since because it is very different. Dawn’s character is the biggest rewrite from the screenplay to the book for the musical, so I didn’t want to confuse the two. Therefore, I haven’t watched it again. Once I leave the show, I’ll probably go back and watch it again just because it’s so good.

Because Dawn is so particular, I look to people and to friends who are introverts to help bring her to life. I’m also an introvert and kind of OCD myself, so I tried to bring little bits and pieces of all these people that I knew and my own imagination to who I thought Dawn would be. I wanted to make her as human as possible because I think she is the easiest to be misconstrued as a caricature. And she’s not! She’s a real person. So that was really important to me when we were working in the few short weeks of rehearsal.

FITZGERALD: To me, the film was always the Bible of the piece. It’s where I felt like I always returned to in order to find the characters and their humanity. Adrienne wrote, starred in, and directed it, so that was always a constant reminder to allow her vision to inform you somehow. Those people crafted those characters first.

I’ve had a little experience doing that before. When I was playing Igor in Young Frankenstein, I felt the same way. How do you follow Marty Feldman? He’s perfect. He isIgor. There will never be anybody but Marty Feldman in that part. That was an iconic movie and each performance is iconic in it. All you can really do is try to tap into that and try to steal some of the joy, spirit and whatever that essence that makes it so incredible is. You want to try to borrow it and use it to your advantage.

For Waitress, some people didn’t want to watch the movie and didn’t want to have that experience. But I did and I definitely watched Eddie a lot. I think the main thing that I stole from him was that Ogie is a guy who is positive all the way down to the fiber of his being. He makes only positive choices and that’s really fun to play! It’s really fun to play someone who’s naively positive and who doesn’t see the wall in front of them that we all have. That really helped inform his song (“Never Ever Getting Rid of Me”) and the whole character’s journey.

Ogie is just like, “You are the one and I couldn’t know it more. This is too right. You know it and I know it.” He has that spark that made me realize that that’s where his drive comes from. It’s really fun to come into a show and have that energy, especially when all of the other characters are in the midst of the thickness of conflict. Everyone else is dealing with so much and making crazy, horrible choices because they’re in a lot of pain. Almost everybody in this show is in some way. So here I get to come in and just be like, “This is a joyous day!” And Ogie really believes that.

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Christopher, you’ve won Drama Desk and Outer Critics Circle Awards for your performance. Do you think it’s this overwhelmingly positive outlook Ogie has on life that makes him such a scene-stealer?

FITZGERALD: Absolutely! That outlook informs everything. Have you ever seen those videos of birds doing big, crazy sex dances to try to get their mate excited? But in reality, they’re just these little, tiny birds that are showing off because of the stuff around them? They always make me laugh and they remind me of Ogie. They make me think of just how funny it is that there’s this person who’s a complete dweeb and nerdy weirdo, but who just doesn’t give a shit. It’s so satisfying to see somebody like that! We kind of all wish to be like that.

So yes, I think that positive drive is really what makes everyone go, “Wait, what’s happening? Who is this guy?” And then Sara wrote this crazy song that I feel like could almost be a stalker song. It’s kind of weird. We don’t have a lot of time to set it up. But he’s so positive and loving that you know it comes from an earnest place and that it’s not crazy. I feel like at the end of the song, if Dawn said, “You know, I really can’t do this,” Ogie would say, “Okay, I get it.” He’d put on a little performance and be like, “Now I’m very sad. I will try again but I get it.”

Waitress is the first Broadway musical to come from an all-female creative team. How (if at all) did this impact the overall creative process/experience of building the show?

MUELLER: I think we probably developed a shorthand that most of us weren’t even aware of. There was lots of talk of gyno appointments, babies, love, affairs, a woman’s experience, etc. It was very easy to go there and I think that’s because of the personalities that were in the room.

USHKOWITZ: Going into this show knowing that is awesome! You walk in already feeling inspired and empowered. I think all around women are raising the bar in society and in today’s world, so I’m thrilled and honored to be a part of that as well. It should be that way and yes, we should have all women creative teams! It shouldn’t be out of the norm. But I wasn’t looking at it any differently than I do going into any other project.

FITZGERALD: I think to tell a story about women, it’s probably good to have women tell the story. That sensibility was important to what the story’s really about. However, it was just a normal Broadway creative process with all of its challenges and all of its celebratory moments. It wasn’t really that different to me. I’ve worked with a lot of female directors and there’s no real difference to me. It’s the same kind of process.

The show explores themes such as motherhood and self-empowerment, and has resonated with all sorts of audiences, regardless of age, gender, etc. What do you think it is about Waitress that makes it so universally appealing and crowd-pleasing?

USHKOWITZ: I think what is really cool about it is you have these three ladies and each one of them goes through a beautiful arc in the story. Each one is vibing off each other’s energy. For example, Dawn and Ogie’s scene forces Jenna to go call Dr. Pomatter and face him. Each one sort of feeds off the other and inspires the other to grow and to change. It’s a really beautiful story of empowerment. It shows the importance of leaning on, supporting, and learning from each other. And the music, obviously, is really beautiful.

FITZGERALD: I feel like the strokes with which these characters have been created make them very real. You don’t usually see a comic musical with these kinds of damaged people. Characters have flaws, but there’s a difference between, for example, Harold Hill’s flaws (in The Music Man) and Jenna’s. It’s just deeper. The stakes are inherently higher when you’re in an abusive relationship and are stuck in a small town and are in a lot of pain. I don’t know if people see themselves, but they feel like these are maybe characters that they really can understand or connect with. The show doesn’t do a lot of pandering. It just shows these characters’ lives.

Also, I feel like you don’t see enough stories about women. This show has complicated relationships between women, and friendships that are not fabulous. They’re in a diner. I think it’s those kinds of themes that we all gravitate to, and because of those dynamics, people are attracted to the show. It’s really interesting. It really seems to be striking a chord in particular with young women.

I also think it’s Sara and the way her music speaks to people. When you’re listening to Sara’s music, whether it’s a song like “Gravity” or really any one of her albums, it’s like you enjoy the ache of her music. It’s as though it’s actually pleasurable to feel the kind of pain that she sings about. Do you know what I mean? When you put it on, it just gets inside you. Even if it’s a song about a break-up or heartache or whatever, it’s delicious to your soul somehow. When Jessie sings her 11 o’clock number, “She Used To Be Mine,” it’s just an amazing moment. It’s an incredible song about someone at their wit’s end, but the way the melody is and those lyrics are just make the song so satisfyingly painful. That’s the way I feel.

MUELLER: The show taps into a part of the human experience everyone can relate to – doubt, pain, suffering, life choices. I think to see someone honestly acknowledge their mistakes and their pain is a very powerful thing. Something we don’t often feel safe enough to do in life. But when we can sit in a theater and engage with characters and watch them go through it, we can safely relate. I had an acting teacher who used to talk about that. The power of theater is we can learn lessons without the collateral damage of actually having to go through it ourselves. And I think the show is really well balanced. There are laugh-out-loud moments and moments of extreme joy and healing. It’s got a little bit of everything. Each side makes the other more potent.

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What is something about yourself, either personal or professional, that playing these characters has taught each of you?

FITZGERALD: I had a lot of fun really working on this and taking charge of how I felt like my first number could go. It was fun to have that confidence. It taught me a lot about taking that moment and collaborating with Diane and (choreographer) Lorin Latarro. It also started as something so different than where it got to, so it taught me to be really open to new things and to have faith. And I really did! I was like, “We’re going to get there, but I don’t know how.” I learned a lot doing that. That was cool.

MUELLER: Playing Jenna has taught me to own your feelings and your thoughts. The good, bad, and the ugly. I’m still learning that one everyday … and then having to re-learn it. And to stand up for yourself.

USHKOWITZ: I’m an introvert at heart. Dawn has taught me to branch out to be open to new experiences and also to love myself. Dawn’s really happy in her ways and that allows her to hope and dream. I think that’s really valuable too. You need to know what you enjoy and how to live your life so that you’re happy.

Christopher, how is your chemistry on stage different with Jenna than it was with Kimiko? And to both you and Jenna, how does that chemistry inform your performances?

FITZGERALD: It’s really not so different in terms of the way that the story comes off. I’ve also played opposite a few understudies, so I’ve played it now with maybe four different Dawns – the same way that Kimiko and Jenna have also played opposite different Ogies. What’s kind of remarkable, though, is how the story is still told. It’s really fun! Dawn is basically the straight man through that first act number. She’s just like, “What’s happening?” It’s so fun how that turn happens. I’m having a great time with Jenna. She’s got a big laugh and a really fun spirit. We get along very well and we’ve become good pals.

USHKOWITZ: Christopher is a comedic genius. Our chemistry is vibrant and it’s like a little Ping-Pong game in that we really do vibe off of one another. I also would say he’s like a teddy bear, so it’s a very cuddly relationship. He’s very charming. I actually met him 20 minutes before our first performance together because he was on vacation when I was in rehearsal. So it was really important to listen to each other because we were literally getting to know each other on stage for the first time. That was a really great learning experience for me and I’m lucky to continue to do that every day. It was really special and definitely very cute.

In your opinions, why are Ogie and Dawn a perfect couple?

USHKOWITZ: I think they push each other. They both have created these beautiful lives for themselves that make them very fulfilled. Realizing then that there can be other people that can also fulfill you in ways that you can’t do for yourself is really sweet. I think that the two of them are like peas in a pod that way. And accepting each other for who they really are – like when they dress up as Betsy Ross and Paul Revere – is really cute.

FITZGERALD: They’re so mix-matched but so perfect for each other. Dawn is essentially kind of a “no” person. She’s sort of afraid, quiet, and reserved and he’s just the opposite. That’s why it’s so satisfying to watch those two forces come together.

What’s your personal favorite song in the show and why?

MUELLER: It really changes every night and they all feel so different. I wouldn’t say I have a favorite.

USHKOWITZ: My favorite song to listen to is definitely “She Used To Be Mine.” I think Jessie gives a spectacular performance and I feel like that song is the culmination of the show. It just really gives you an idea of who she is and what we’re dealing with. But I also really love “Everything Changes.” I really enjoy singing that with the girls. It’s just all so beautiful.

FITZGERALD: I’ve got to give it up to my buddy Nick Cordero and his song, “You Will Still Be Mine.” But they’re all good! They really are. I like to put on the CD in my car sometimes, just because I love all of the songs from the very beginning to the end. I really just think this is a remarkable score!

What are your favorite things to do to relax on a no-show day?

MUELLER: Get out of the city and go somewhere green!

USHKOWITZ: I just finished watching Stranger Things. I like to binge-watch TV shows just because on no-show days, I try not to talk. I’ll either go get a massage and then watch either The Bachelor, Bachelor in Paradise or Netflix.

FITZGERALD: It depends. Sometimes I like to take a nap, sometimes I like getting outside and sitting in the park and zoning out. Seeing friends. It’s always different for me.

This show doesn’t knock me out in the same way that it does someone like Jessie. She’s on stage the whole time. The emotional gamut that she runs is large and that really takes a toll on an actor in the long run. Because it’s not that you don’t feel those things. You do. You have to go there if you’re going to put over a scene where you’re about to be physically abused. And the fear of that is something that as an actor, you have to kind of tap into. So that takes its toll. It’s not necessarily always a fun place to be.

But that’s the most fun thing about playing Ogie: he’s nothing but positivity and joy. It’s falling in love with somebody and expressing that, and then letting that continue and that’s it. It doesn’t really take any other kind of turn. So it’s just fun to be here. And the cast and crew are a great group of people.

Jessie, one of the many things that I found so powerful and impressive about your performance at this year’s Tony Awards was how you were able to so quickly emotionally transition from the bubbly “Opening Up” to the vulnerable and heavy “She Used To Be Mine.” As an actor, how do you mentally prepare for the rollercoaster journey that your character goes on every night?

MUELLER: HA! I think that might have been sheer panic or exhaustion on the night of the Tonys. And there was a beautiful moment when I finished my costume change, and walked out on the stage, and saw and heard Sara, and it all hit me – how special the moment was. How far we’d come and what we’d all built together. During the show I really have to take it one moment at a time. It’s death for me if I think about where I have to get to or the emotion of a moment. If I open up and let go, it’s much better. I’m still learning how to do that. I have to continually remind myself there’s something bigger happening than all of us. But it also takes all of us. Every moment takes me to the next, every character, that’s what makes it possible.

How would you each describe the experience of working with Sara Bareilles and what’s been the best part about getting to sing her music?

FITZGERALD: Sara is awesome. She’s got a great sense of humor and all we do is kid around with each other and make fun of each other. She’s unbelievably talented and is unafraid to think about, speak about and give out stuff that is challenging and interesting. It was really fun to collaborate with her. We came up with some other ideas together and she was open to any and all of them. She’s fierce and is also very clear about what she wants and what she needs. That’s also really satisfying. She’s just incredible.

MUELLER: Sara really was awesome. She was so open, available, and extremely thoughtful and supportive when it came to the score. If something wasn’t fitting in my voice or wasn’t serving the bigger picture, she was open to changing it. She wanted the score to be comfortable for us to sing. That being said, she’s brilliant and has an incredible vocal instrument. I think this is one of the most challenging scores I’ve ever sung. She set the bar high!

USHKOWITZ: I actually didn’t work with Sara. She came and saw the show after I joined and she really enjoyed the performance. When I was learning the material, they were like, “Don’t worry! Just sing the stuff and feel it and be honest with it.” Looking over videos and things that I’ve seen of Sara working with the original cast, like when they were working on the album, she always encouraged them to “Let this be your version.” She’d say, “This is your story and your version. I’ve done mine!” She put hers on a concept album and it’s beautiful to listen to. But we’re all different so I think that’s the biggest thing I took away. That it was okay to make her my Dawn. To not try and replicate what had been done – because you can’t.

Vocally, how does singing this type of pop-infused score differ from your more traditional and classical musical theater work?

USHKOWITZ: That’s exactly what it is. It’s pop. It’s a bit more laid back and emotionally driven. And Sara’s songs, I will say, are not easy to sing. It’s not like we’re singing some easy pop song that’s done in a recording studio. Her stuff is tough. It’s beautiful and intricate and that’s why I think it does so well. In musical theater, you’re trained a certain way. So to be able to bring in this contemporary sound and have that live feel with our studio mics and everything makes it become sort of like a pop concert as well.

FITZGERALD: To me, it is a little easier to sing. The way that Sara voiced the characters is just such strong writing. And there’s not much difference when it’s good writing.

MUELLER: It’s really fun and was a departure for me. There’s a little more freedom. And sometimes that’s scary, but it also encourages me to really put my heart and soul into it. Of course I’m conscious of what I sound like but it’s not my main concern when singing pop scores. It’s fun to put some guts behind it and hopefully give audiences something they don’t always hear in musical theater.

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What are your personal favorite kinds of pie(s), both to eat and to bake?

MUELLER: Chocolate cream pie from Bakers Square, or banana or coconut cream. I’m not good at baking those, so if I were baking, it would be a fruit pie – maybe strawberry rhubarb.

FITZGERALD: I really love a banana cream pie. Some people hate the idea of banana in anything and it makes them gag. I love it. I also really like a good, high-quality chocolate cream pie. My mom’s apple pie was always simple and so well done. So, I also just love a very well made, fresh, hot apple pie with vanilla ice cream. I mean, come on!

USHKOWITZ: Well, I have to be honest, I’m not a pie baker. I will make a healthy pie out of spaghetti squash, but that’s about it and that’s kind of boring. I like quiche, which Jenna also does make for the diner. I’m a big fan of eating quiche, but if I had to choose a sweet one, I’d go with a classic apple pie à la Mode.

Jenna, one of the many projects you’ve taken on since Glee ended is your podcast, Infinite Positivities. Can you please tell me a little bit about what inspired you to host this and what some of the most rewarding aspects of working on it have been so far?

download (1)USHKOWITZ: Well, after I wrote my book Choosing Glee in 2013, I got a really great response from people and I started to realize that not everybody had this viewpoint and perspective on positivity. It really opened my eyes to understanding how to condition yourself to make happiness a choice. The podcast is sort of an extension of my book. I take topics based off of the chapters in my book and I discuss real life issues with really cool and inspiring people. The way I like to find my guests are people who seem like they live their lives whole-heartedly and sort of have been through tough times but came out the other side successfully. I can show my listeners that it’s not always easy and either way, you’re going to come out stronger. So, that was sort of the inspiration.

The most rewarding thing is having these amazing, inspiring, successful people on and learning that they’re just human beings. We all feel and we all mess up and we all fail. We’re ambitious and we try and I think that the most beautiful thing is just being aware of all of these things and showing people a different perspective on life.

Who of your Glee co-stars are you still in the closest contact with? And have any come to see you in this show yet?

USHKOWITZ: Well, none of them have come to see me because I’m only in my second week of the show, but I know Darren (Criss) is going to come. He said he wanted to come and Lea (Michele) wanted to come. I talk to Darren, Lea and Becca (Tobin) a lot. I was actually speaking with Kevin (McHale) just this morning. Then of course, Harry (Shum Jr.), Naya (Rivera), Diana (Agron), and Amber (Riley). It’s hard to say. We all speak a lot. We stay in really close contact. We’re all family so sometimes we’ll go months without talking at all and then sometimes we’ll talk everyday.

Jessie, can you please describe what the recording of charity single “What The World Needs Now Is Love” with Broadway For Orlando was like?

MUELLER: It was one of the coolest afternoons I’ve had in a long time. It felt like such a blessing to have something to do in the face of what felt like helplessness. And what a room! I felt like I was watching from the outside and wondering who the heck had let me in there. I was in a Carole King/Sara Bareilles sandwich for most of the session. My heart was very big that day.

Christopher, a few months ago, I interviewed Shoshana Bean, and she told me that she credits her involvement in Wicked with why she gets to travel the world singing today. So I’ll ask you the same question that I asked her then: How has being such an integral part of such a blockbuster musical shaped your career?

FITZGERALD: Well, nobody wants to hear me travel the world and sing like Shoshana. If I sang like Shoshana, I think I would say what she said. It’s interesting. I come out at the stage door after the show and half the people are like, “Oh, my god! I loved you in Wicked! I love Wicked!” It’s crazy that there are still fans from that time.

The only thing I can say really is that it was amazing to watch the power of something that could affect that many people. It was like, “We’re just singing songs and telling a story. It’s nothing more special than that!” And yet it is that special, and it’s just remarkable! People still have such an affinity for it. The fact that right now there are like five different Boqs around the world tonight that are going to say lines that I said first, and do little bits that I did, that just blows my mind sometimes. I’m like, “Really? They’re going to do that little book thing that I did and they’re wearing the same costume that I wore?” It’s totally surreal!

And yet if I walked over there right now, the people at the theater would be like, “Can I help you?” or “Who are you?” They even have a sign that says something like, “If you were in Wicked previously, you may not come backstage. You have to come back with somebody.” Because there are so many of us now!

Waitress1487rOh wow. If you were in charge of casting, who would you like to see play Boq in the upcoming Wicked film adaptation?

FITZGERALD: Aside from you, you mean? I don’t know! Who could play Boq? Joseph Gordon Levitt, maybe? I don’t know. It’d be one of these actors that I don’t know because they’re so young now. Maybe Michael from Stranger Things. My wife and I just finished that show and we loved it. It was so fun and exciting. That’s my hip answer because it’s pretty current. But already Stranger Things is becoming old hat, I guess. It’s so sad how quickly these things move.

Do any of you have any plans to release your own solo albums? What would they sound like?

MUELLER: I’d love to someday, when I have something to say. I just don’t know what that is right now. So I also don’t know what it would sound like.

USHKOWITZ: That’s a really good question! If you were to ask me even before Waitress, it would definitely be along the lines of a Vanessa Carlton/Sara Bareilles/Ingrid Michaelson/Regina Spektor/Florence and the Machine feel. But as of right now, no. I’m really enjoying this acting route at the moment. I’m not closed off to it, but that’s not something that I’m dying to pursue at the moment either.

FITZGERALD: Maybe! It would be called like, The One Syllable Names or The Creatures. I did a Feinstein’s show before it closed about three years ago (before it became 54 Below). I did it with my friend David Turner. It was a mixture of all sorts of fun songs. It’s a really fun thing to do because you get clear about what really moves you. It was a combination of some songs from my childhood and some songs that were older and also some new ones. So it’s really eclectic and weird, but fun.

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CLICK HERE TO PURCHASE TICKETS TO WAITRESS, NOW PLAYING AT BROADWAY’S BROOK ATKINSON THEATRE. AND CLICK HERE TO PURCHASE THE WAITRESS ORIGINAL BROADWAY CAST RECORDING.

Originally published on PopBytes

INTERVIEW: TALKING “GREY GARDENS” AND MORE WITH RACHEL YORK

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LAST SUMMER, THE HAMPTONS WERE ABUZZ ABOUT THE RETURN OF BIG AND LITTLE EDIE. 

Rachel YorkOf course, the real Beale ladies passed away several years ago. Yet the duo was reincarnated on the stage in a bold and innovative new production of the musical Grey Gardens, based on the famous documentary of the same name. After bringing Gardens back to the place where it was originally set, the cautionary tale of the reclusive aunt and first cousin of Jackie Kennedy Onassis received such an acclaimed response that this production has now transferred to Los Angeles for a limited run.

Now playing at the Ahmanson Theater through August 14, Grey Gardens stars Betty Buckley and Rachel York as the mother and daughter whose complex and often-dysfunctional relationship is at the center of this riches-to-rags story. I spoke with York about her transformation into Little Edie, why Grey Gardens remains such a fascinating story that stands the test of time, her vast career highlights, and more.

ALEX NAGORSKI: What initially made you want to do Grey Gardens?

Rachel YorkRACHEL YORK: I was not that familiar with the material as I had never seen the documentary or the musical when I was offered the role, but I knew I would be playing two very challenging roles with intricate character work – which is my forte. I became an actress because I love delving deeply into character and psychology. Unfortunately, these kinds of roles don’t come along everyday. After I saw the documentary, I turned down a role that paid me substantially more money in order to do the Bay Street Production in Sag Harbor. That’s a tough choice when you have a family to support, but it was the right one for me.

Speaking of the Bay Street Production, this iteration of Gardens is inspired by that production that you did last year in the Hamptons itself. How did actually putting on the show in the same place where it’s set impact your performance?

The production at Bay Street was an “event” in the Hamptons. People were very excited to see it for obvious reasons. We had a lot to live up to. For me, living and working in the Hamptons was incredibly informative. We visited the actual house of Grey Gardens. It has been restored to perfection. I was able to picture being raised in this beautiful house while also imagining its decline. I recited lines from the documentary that Little Edie spoke in that very house. It was exciting and eerie at the same time.

Now that the show has come to LA, have you found new value and/or creative liberty since you’re not actually in the Beales’ space anymore? And what other ways is the show different this second time around?

Little EdieIt has been a wonderful advantage to revisit the play and the documentary a year later. Betty and I viewed a screening of the documentary at the Ahmanson during rehearsals, which was surprisingly enlightening. There were several small details we couldn’t see on a small screen. We were able to view it the way it was intended 40 years ago. We had put the production up in basically two weeks the first time around at Bay Street. Betty and I were both overloaded with information on the Beales. That year away from the material has allowed us to view these characters with a fresh eye. I feel the second time around I am able to present more of Little Edie’s subtleties.

Michael Wilson has created a whole new production at the Ahmanson with projections and a live camera feed. We have more to work with at the Ahmanson. The challenge for Michael was bringing the same kind of wonderful intimacy that we had at the 300-seat Bay Street Theater. We have a bigger and more expensive set now. This allows us to see the outside of the house along with the porch screen door that Little Edie enjoyed prancing in and out of. And I am told by people who have seen both productions that Michael somehow was able to maintain that feeling of intimacy, even though it is such a big production.

How does portraying Little Edie stretch acting muscles for you that your previous roles haven’t?

These roles don’t come along everyday. I suppose the only thing that has come close to this was my portrayal of Lucille Ball in the CBS miniseries, Lucy. The stakes are just as high. Many are obsessed with Little Edie and her idiosyncrasies. It’s important that I create that illusion for people. I want them to feel they are seeing the real thing. I want them to truly empathize with Big and Little Edie. As I said before, I enjoy this type of intricate character work. I have more control over the final product on stage. When I arrived at the set of Lucy, I knew more about Lucille Ball than any one on the set, but choices were already made that I had no control over. I have control on the stage, but I need to be in top form. This show is the most challenging work I have faced because of its size, depth and vocal diversity. I can’t afford to get sick or even be under the weather. The mountain I climb every night can be incredibly intimidating.

So how is your process different when playing a real person like Lucille or Little Edie versus when you’re creating a fictional character? 

With real people, there is usually quite a bit of source material to draw from. When I am creating a fictional character, I just use clues in the script, my imagination and my own person experience and empathy to find my character and her truth.

Betty BuckleyWhat are the most rewarding aspects of working with a theater icon like Betty Buckley?

She’s a fantastic actress. She knows her craft. There’s nothing more exciting than working with an actor who knows their craft. Betty also has great presence, experience and passion for acting and the characters she plays. We are both honored to shine a truthful light on these bohemian-spirited womenBetty Buckley

Now that you’ve seen the documentary, have you also seen the film starring Jessica Lange and Drew Barrymore? If so, did it help you discover your interpretation of Little Edie in any way(s)?

I thought the film with Drew Barrymore and Jessica Lange was incredibly well done. I didn’t study their interpretation, but I drew from the same source materials they did, I’m sure.

What do you think it is about the story of Grey Gardens that makes so many people want to explore it across such distinctly unique artistic mediums?

Betty Buckley and Rachel York

These two ladies were fascinating, colorful characters and there is a mystery about this story that leaves everyone perplexed and saddened.

And what is it about this mother and daughter pair that still makes their struggles so relevant and poignant in 2016?

I think it’s a story that tugs at some of our deepest fears. It’s difficult for people to fathom how this could have happened to these women and we feel truly sad for them in the end. There is a mystery to this story and the play leaves us analyzing and asking many questions

Prior to this production, you co-starred in the Broadway comedy, Disaster! What was the most fun part of getting to perform in such an outrageous, over-the-top musical every night? 

It was pure fun working with such a skilled group of comedic actors. It was the perfect job! We all had such a blast every night. The music and time period transported me back to the happiness I felt as a kid in the 70’s.

Disaster was comprised of so many terrific songs from that decade. Which did you enjoy singing the most? And how do you plan on celebrating the upcoming release of the cast recording? 

“I Will Survive” was my favorite. I’m excited to hear the recording! But I haven’t made any plans to celebrate as of yet.

As an actress, do you typically try to balance the types of projects you choose across different genres? If so, which have you found to be your favorite? 

In most instances, the projects have found me. I’m fortunate to have played a variety of different characters throughout my career, whether is be comedy or drama. I like to mix it up. My favorite always seems to be the character I’m playing at any given time. There are so many the past that are my “favorite” that I can’t select one. Right now my favorite is Little Edie.

In addition to your theater work, you have a vast career as a concert soloist, having performed with such esteemed acts as the New York Pops, the National Symphony, the Los Angeles philharmonic, the San Francisco Symphony, and the Jerusalem Symphony Orchestra, to name a few. What type of artistic itch does performing in this capacity scratch for you that playing a character in a musical does not?

Singing with a huge orchestra is glorious, but acting is my passion.

You received a Drama Desk Award for your co-starring turn in Victor/Victoria alongside the legendary Julie Andrews. What was the best advice that Julie gave you that you’ve carried with you ever since? 

Always decorate with creams, whites and taupes. They make every room appear larger, cleaner and fresh.

Catch Rachel York in Grey Gardens, now playing at the Ahmanson Theater in Los Angeles through August 14. Click HERE to purchase tickets.

#GreyGardensCTG

Originally published on PopBytes