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« Features
It's been no secret that she has been busy, busy, busy. The last year has found this titian-tressed temptress keeping her curls intact while getting married for the first time, making her Carnegie Hall debut, releasing not one but two new albums after a fifteen year studio hiatus, sirening through a historical TV drama for NBC's May sweeps, getting nominated for a Grammy and jetting back and forth across the country on a concert tour that has crowds begging for more. All the while, the on-line world is burning up bandwidth debating what this Broadway Baby's next move will be on the Great White Way.
Happy belated birthday!
You and I are February bookends. I'm the first and you're the twenty-eighth.
Really? Do you know who you share a birthday with?
Charles Durning.
Vincent Minnelli.
Zero Mostel.
Tommy Tune.
And, your old co-star, Tom Aldredge.
How's married life treating you?
Have you ever gone out on the Internet?
Well come to the Stephen Sondheim Stage because the people are talking about you!
Want to know what they're saying?
The rumor is Annie Get Your Gun is your next Broadway show. What say you?
So you really are going to hold out and give the scoop to Rosie?
Okay. Next rumor. That you're not going to be doing 'Animaniacs' anymore.
Are you the person who's responsible for slipping all the Sondheim references in the show?
How's the tour going?
Do people call you "Bernie"?
So you don't like it?
Like Elizabeth Taylor hates being called "Liz".
So, let's talk some Sondheim.
You are being called the premiere interpreter of the music of Stephen Sondheim. How does that feel?
I think it comes from the fact that you do such a phenomenal job with his songs.
A lot of people feel the same but they fail miserably. Why do you think you're being so successful with them?
Betty Buckley, whom you replaced before Into the Woods opened, told a story recently saying she had sent Sondheim the CDs of his songs that she had recorded and he said that he didn't like them because she didn't sing the notes the way he wrote them.
People say that he's hard to perform and to understand. How do you respond to that? When we did the ten year reunion of Sunday in the Park With George I really had to learn it again. I thought, you just can't bop through this. It's not easy. You really have to learn it. We're going to do a ten year reunion of Into the Woods. We'll see what that's like. Although that was an easier score for me to learn. Except there is the rap song. (Laughs) So we'll see. I know I have to re-learn that!
What would you say is the most difficult Sondheim song you've performed?
Do you remember one that came particularly easily to you?
Easy.
Do you prepare for Sondheim differently than you do for other composers?
When did you first become aware of Sondheim's work?
Which they say you can never do!
Do the individual songs reveal more to you as you perform them? You performed 'Move On' for the first time in 1984 and you've just recorded it again.
Legend has it that you said yes to Sunday in the Park with George based on thirty pages of script and one song. What did you see that hadn't been written yet?
What was the workshop process like for you in such a high profile piece? How was it being seen, not just by the theater party ladies from Queens, but by your peers since everybody was trying to get into that workshop.
Were there any songs cut from the show that you remember, or miss and wished that you'd been able to keep?
How much did you contribute to Dot's or Marie's character development?
She knew that he couldn't be with her because of how important his work was. And yet, he didn't want a woman who didn't understand how important his work was so, you know, he was in a bind. She had to make a choice to move on. And then she comes back and teaches him that. It's so beautiful.
Do you think the show would have stood on its own as a first act only? As a one act musical?
If you were to play Dot today would you approach the role differently?
Why did you leave the show before it closed?
My last official performance was also thrilling. The audience knows. If they're a fan of a show and a performance, they know the show, they know all the lines and they know all the feelings. [That night] was like they were up on the stage with me and I was in the audience with them. It was 'you know and I know, and I know...' and it was such an interesting feeling. And yet, you're in the moment, too. And you're letting them really be in the moment with you. It's very interesting.
I notice you haven't changed your bio yet, as you promised... or your agent hasn't!
(Peters patter on Sondheim, Etc. includes a reference to a
mistake in her press biography stating that she had played Dainty June in
Gypsy tour when in fact she only understudied the role. On the
recording she apologizes to the actress whose credit she
stole.)
(Laughing) Oh god! Does is still say...
It still says...
You've said that you avoided listening to a lot of female singers, so as not to be influenced by them. What do you think it is that makes your voice and your style so unique?
How did you pick the songs you used for your concert and album?
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Assassins is about how society interprets the American Dream, marginalizes outsiders and rewrites and sanitizes its collective history. "Something Just Broke" is a major distraction and plays like an afterthought, shoe horned simply to appease. The song breaks the dramatic fluidity and obstructs the overall pacing and climactic arc which derails the very intent and momentum that makes this work so compelling... - Mark Bakalor
Which is not to say that it is perfect...
Explore the rest of the Finishing the Chat Community Forum
CD: $13.99
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