May 22, 2025 • 41 mins
At Tom & Mickey’s wedding, when their officiant Christine Ebersole was signing the marriage license, a question arose: what should be written under her signature for “Title.” They all quickly agreed on “Two-time Tony Award Winner.” And so it was.
A legend of stage, screen, and television, Christine dishes with Tom & Mickey about her time on SNL, working opposite Richard Burton and Richard Harris in ‘Camelot’ at just 19 years old, her roles in the films ‘Tootsie’ and ‘Amadeus,’ and, of course, real estate (think tree houses, secret passages, wood-burning fireplaces, and the perfect NYC pied-a-terre). Oh, and Big Sally. You’ve got to hear about Big Sally.
More intimate stories you’ll only hear on The Tom & Mickey Show!
You can follow Christine on Instagram at @christine.ebersole.official and christine-ebersole.com
And if you’d like us to help you find your perfect fireplace (or whatever else makes your house-hunting heart skip a beat), contact us on @tomandmickey or tomandmickey.com
The Tom & Mickey show is produced by director & editor extraordinaire: Stephen Penta (@thepenta)
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
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From the greatest city on the planet Earth, it's not Tom and Mickey show.
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Everything is show-based.
It lights camera action. Presenting...
Christine Ebersole, This Moment.
We are thrilled to be bringing to the show today one of our nearest and dearest friends, the immensely talented Christine Ebersole. Now, if you're thinking to yourself, why do I know that name? How do I place it? It is because she has been living in your brain for decades.
Two-time Tony winner, you may have seen her in 42nd Street or where she played little Edie in Grey Gardens.
If you're a certain age, perhaps you saw her as Mrs. Rich in the film Richie Rich with Macaulay Culkin. She has been in Tootsie. She has been in Amadeus. She has been on television for eons. If her acting weren't just so good, that voice is heavenly.
Boy, is that voice heavenly.
And when Michael and Terrence invited us to have our wedding at their townhouse, a little seed was planted a while back at a dinner party where Christine said,
"When you two tie the knot, just keep in mind that I'm an officiant."
It takes a life to realize what life is all about.
And life is all about this moment.
I'm here with you before we're through. What secret will we tell?
I'll learn to know you well this moment.
How soon... Tony Award nominee, Christine Eversoll.
Are the stars out tonight?
I don't know if it's cloudy or bright.
Cause I only have eyes for you, dear. And the Tony Award for Best Leading Actress in a Musical goes to Christine Eversoll.
42nd Street. But I can't see a thing in the sky.
And the American Theatre Wing, Tony Award, I've always wanted to see this, goes to Christine Eversoll. I left Hollywood when they told me I was over the hill, and now I'm standing here with this most distinguished award for what I consider to be the role of a lifetime. I'm over the hill in the role of a lifetime.
This is so encouraging.
So what made you decide to do this? I'm interviewing you now. Oh, that's fine. The tables have turned so early. What made us decide to do this? We're tired of all those real estate reality shows. How's that? For a starter. And we were on the first one. We were selling New York on HGTV.
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And it was lovely, and I don't know if you ever saw it, but it was a way to get people inside of beautiful properties. And the brokers were there to tell a little bit of the story and to be that conduit.
And now it's a... if you know what I'm saying. Because everybody wants to do it or everybody's getting it now? It's all about sensationalism. We're not really wired for sensationalism. But we were thinking, within the real estate space, is there a show that we should be doing or thinking about?
And we talked about it for a long time, and everybody said, "You guys should do it."
And we thought about that space, and we were talking to a client on our way back from a show.
And we said, you know, talking about doing a podcast, he said, "I hope it's not about real estate. Nobody wants to listen to that shit."
Because there are so many real estate projects where they talk about it. And last week, the average co-op sale was down by 2.1%. It's like, "Oh, come on. I mean, really. If that's what you're looking for."
You know, we sell real estate. That's our gig. But you know us, in our soul, we have a lot of the showbiz. A lot of show business clients. And I believe we've counseled you a little bit maybe over the years on the real estate. -Oh, that's true. -I'm not sure. -Well, I don't know. Can you find us something wonderful? -We would you like to put something wonderful? No, we have something wonderful in Maplewood, New Jersey. But I was thinking of maybe just like a little pied-a-terre somewhere that has a fireplace and a balcony. And it was built in, you know, the turn of the last century. -Oh, I like that very much. -And it's not too far from the park. Or maybe Greenwich Village. I don't know. There's so many wonderful places in the people. -It's a good thing Bill's here. -In our business, wanderlust is a side effect. Because we're working downtown, especially in the springtime or fall. -Is that where your office is? -Yeah. We're right by Union Square. Which is wonderful. -I used to live on 13th between second and third. -Oh. -Sixth floor walk up. -That'll keep you fit.
-If it rained when you got downstairs and you didn't have an umbrella, you just bought a new one. -I'm not going back up those six-laces stairs. -We often say in the real estate biz, it's not the work, it's the stairs. -That's what Elaine Stritch said. -That's exactly right. But it started with, no, Mae West. -Oh, it was Mae West. -It was Mae West. She's the original. But Stritchy, she knows how to deliver a line. -She made it her own.
-Talking about real estate, you have the most fabulous treehouse at your property. -Oh, yes. -Can you tell us how that happened? -Purticea Bill Maloney. -If we wanted to have a treehouse at our Long Island weekend house, do we call-- -Is there a tree for it? -Yes. Many trees. So we call Maloney Incorporated? Is that how it happens? -I think so.
-It's really magical, the treehouse. It's two stories. -Two stories. A duplex treehouse. -There's a little sitting room. You walk up these two flights of stairs up the tree and you have to kind of go sideways because the trunk insinuates itself on the staircase.
-Okay. -You kind of have to move sideways to get past the big trunk or one of the branches of the trunk, the psychic trunk. It's that big. And then you have like a little sitting room and then you climb up this ladder and then you're up in this magical place where these windows, you know, there's no electricity. There's no Wi-Fi, nothing like that. So it just has these windows. You're just enveloped by this tree and the breeze and the bugs don't come up that high. They usually stay close to the ground. -We've learned that. -And you just go up there and dream away. -Do you have a little bucket on a pulley like Robinson Crusoe? -Oh, that's a good idea. -For supplies. -That's a good idea. Okay. -See, this is how we add value. -So this is talking about real estate here. -No. -No, but this is our tree house is part of our real estate. -It's part of real estate. -What a nice amenity that is. -It's real estate. -Please stop us if we start talking about the market tree houses. Well, houses with tree houses typically. -We read a report today. -Oh, did you? -Holmes with tree houses have soared in the last two years. -Is that right?
-There's a new trend. I think that would scratch one of my itches from being a kid. I wanted a tree house, a rope swing, and secret passages to anywhere. I might have died at one point because I decided to build an underground bunker with no knowledge of what structure might have meant. So I thought I could just dig a hole, put some twigs on it, but I'm here. You're here. -You survived, yes.
Well, we did have on Ben Avenue, before we moved to Maplewood, New Jersey, we lived on Ben Avenue in Studio City in California.
And we added to a thousand square feet, right?
And in that, we did have one of those secret doorways, remember? That got us between one of the bedrooms into the other bedroom. It went through this walk-in closet. It was really fun. -Very speakeasy in nature. -Yeah, it was. -We loved those kind of secret doors. That happens occasionally. Not so much in New York City apartments. -It does. -It does? -It does? -Those hidden books? -But bookcases that open? Name three.
-That would be fun. -No, I mean, not like the Batman style where you pull the arm of the statue, but hidden bookcases are very common. Like in Frankenstein.
-Remember? -You're talking about some of our clients now. That's terrible.
-The good old days. -The good old days.
-So let's talk about the new-- These days. -These days. -These days aren't so bad. -They're good. Have you seen? You've seen, I know you have. Maybe happy ending.
-Fantastic. -Did you not love it? We saw it the other night with Mr. Feinstein. And we were all-- I just cried and cried on the way. -I told him about that. I just got to see this. -Yes. And he was in town and he said, "Let's all go." And he said, "Christine raved." Spectacular. Because when I saw it with my friend David Rothenberg, who takes me to everything, and he-- When I first was there, I was like, "Really? This is some musical about robots?
Okay. And then as you get-- You start to feel yourself being pulled in.
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And by the end, it was like, "Oh, hey, David."
Literally, I was a blithering mess. -We were very moved by it. -Oh, it was so good. -And a beautiful one act. -Just beautiful. -The whole gorgeous story. -Beautiful, beautiful. The Fireflies and Darren Criss and Helen Shen. Do you ever predict Tony Awards? Is that something you do? -Well, it should get everything. -Yeah. -It really should. -Yeah. Hear ye, hear ye. Yeah. It's really special. And for The New York Times, we read the reviews after we see the show. We've learned, do not read a review on a show that you want to see prior to seeing it. -Good batter and good for it. -Right. So, of course, we rushed back after that lovely night and we read it. And for Jesse Green to call it "astonishing." To see the word "astonishing" in a New York Times theater review. -Oh, I'm so glad. -Right? I can't remember the last time we saw that word. And it's also on the wrongs or the other side of Broadway. So it doesn't have that kind of traffic. It's on this little hidden gem that you're going to witness. -Yes. -Oh, so good. Do you keep up on a lot of the current crop of Broadway shows?
-Yes. -Yes. Tell us all the favorites that you've seen.
I loved The Hills of California. Loved that. And Hold On to Me Darling. -We didn't see that. -Adam Driver. Those two plays. Those were my favorites.
I learned something today because we were catching up on our Christine facts.
Your first club act, Mark Shaiman. -Yeah. -Tell us about that. That was in 1980 and I was doing a Camelot. I was playing Guinevere opposite Richard Burton.
-That's a gig. -And then Richard Harris.
Richard Burton took ill.
My dear friend, Eddie Stone, who I grew up with, who has now since departed, he came to me with this idea of doing a club act.
At Ted Hook's On Stage. -I remember that name. -Just 46th Street, I believe. Wasn't it? I don't know. It was in that area. That was when there was a lot of clubs, a lot of cabarets.
He's the one that introduced me to Mark, who was 19.
-And Larry Saltzman, the guitar player, Larry Saltzman, he was in the band as well.
And Larry Saltzman taught Timothée Chalamet how to play guitar. -Wow. -For five years you worked with him. Are you being considered for a redo of hairspray or something anywhere?
-When I play. -Forget it. You had a role of a grandmother somewhere? My point was, you're still friends with Mark to this day, I'm sure. I was so privileged to sing at his 60th birthday party. He'd already been musical director for Bette Midler. I think he started when he was 16. I'm not joking. -My goodness. -He was an old guy. He was just like, "By the time I got to him, he was 19."
-19 and 1980. -Yeah.
-It's a wonderful life. -Truly. -I'll say very rich.
-Richard Burton speaking of rich. -Richard Burton, Richard Harris. -How was that? -I adored them. Absolutely adored both of them. And I had three days to learn the part. You didn't hear about that? No. They were in rehearsal and I was at a club. I was at Ted Hook's on stage listening to someone perform.
He was approached by the casting director and he said, "What would you think about playing Guinevere opposite Richard Burton?" I was like, "Wow, sounds great."
And I went to this audition. I was on the stage with the stage manager, Jerry Adler,
who ended up being an actor in a lot of Woody Allen's movies.
Anyway, so I'm reading with him and then I hear in the back of the house, this very deep, mellifluous voice that said something to the effect of, "I want to read with her." So it was just everything became slow motion. I just look out in the audience and I see Richard Burton coming down the aisle.
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And he's got this beautiful blue powder blue cashmere sweater on that just illuminated those baby blue eyes that he had. And he walked up on the stage and there was the ghost light on the stage and he came over to me and he just very gently kissed me on the cheek. Probably both sides since he was from the other side of the ocean.
And we read together and there was that part of me that was wanting to appear calm. I didn't want to just fangirl completely out at that moment. I was just trying to act normal. This was normal that I would be reading with Richard Burton. But the inside of me was screaming. It was kind of like that. And then the producers came over to me after I read with him and they said, "Hey kid, can you learn the part by Friday?" I was like, "Sure." I was like, "Well, I know." And that's what happened.
I didn't understand in my naivete what I was taking on.
When I answered the call, the morning of the performance on Thursday night, that's right, Thursday night, Richard Burton came to me and he said, "Oh dear, you don't mind. The lights are killing me. You don't mind if I don't go on tonight, do you?" I thought, "Oh Lord." So the last chance that you have to rehearse the whole thing is gone because he didn't go on. So I did it with the understudy.
The only time that I ever performed with Richard Burton was opening night. I didn't do it with him up until then because he wanted to take a break, I guess. The lights were killing him.
And then they also were making costumes for me because the girl who played it before, she was like five but three and I'm five nine. So they had to make new costumes for me. So for the first time was opening night that I'm in the costumes with trains and all that. So I remember that Friday morning getting in front of Franz Allers who was this very famous German conductor that I believe he conducted the original Camelot and then he came back and did it for the revival. He greeted me. "Good morning everyone. Good morning Christine. This is it. You introduced me to the orchestra. This is Christine. She's going to be playing Grenadier. We'll start with the simple joys of maidenhood." So he starts to play it and I was in such sensory overload by this point because just for three days it was non-stop, non-stop, non-stop trying to learn the entire part.
I don't know. All right, well let's start again. Let's start again. I don't know. All right, one more time. We'll start again. I can't remember anything. So they just removed me. They said come over here and lay down in this dark room. So don't think about anything. Right, right. Too much. And then that night at the O'Keefe Center in Toronto, you know, sold out audience, 3,500 people.
And there I was. I mean it was crazy. And I remember there was one part during the lusty month of May where... And I'm meeting Lancelot for the first time, right? And so he's coming in and Richard Burton is there and Richard Munes is there. And you know, I'm about to meet them and meet the new Lancelot, right?
And I remember there was a voice. It was almost like the angel and devil were sitting on either shoulder at this moment because the devil just as I'm meeting them and they're talking, talking, talking, talking and my lines are going to come up soon, you know? And the devil just said, you have no idea what you're saying. And the angel's going to be here now. Stay in the moment. Stay in the moment. It was literally like this battle. And it was just the moment that the angel prevailed because the moment that I was supposed to speak, the words just came out. The words were just there. They just came out. It was a miracle. Because you're you and that is your DNA and talent. No, it just was a miracle. It was a miracle of God. That's all I can say because it wasn't by any of my doing. I clearly didn't know what the heck was going on, you know? Wow. It was an amazing experience. And how long did that last? A year. A year.
It was a great experience. Yeah. I mean, really to have those things at the beginning. And then, of course, I left. I didn't want to renew my contract. And so I came back to New York City and like a few weeks later, I got Saturday Night Live.
You know, what is that? My word. Where am I? I'm sure you're not the first Guinevere to get, you know, whisked away to Saturday Night Live. I mean, what? You know, it was just a different galaxy.
We watched a quick little clip today of you doing a weather report without doing a weather report. Oh, yes. You have any memory of that at all. I think I was ranked. They ranked because I did, you know, news update. I was selected. Brian, Dora, and Murray and myself, we were selected for a news update. They rated the from best to worst. The best being number one and the worst being twenty five. I think I was twenty two or twenty three.
My strengths slide in other areas.
No, really, I mean, I think that what the only place I really had confidence or that I had the most confidence was the singing. I felt that I could contribute in the singing. And that's why Dick Ebersole hired me because he wanted to add singing, more singing to the show.
I did go to the fiftieth. Oh, that was fun. That was amazing. Yeah, it was just kind of amazing. You know, it was just great to see everybody, you know, and it's kind of like a big family, you know, even though you never worked with people that were on subsequent years. You just, you know, you're just part of the the tribe of it. So it was great. And your first film role, Tootsie.
It's one of those movies that we watch once a year. It's a perfect movie. It's such a great movie. I was in two perfect movies. Tootsie and Amadeus.
Tootsie fall into the Richard Harris and Richard Burton and SNL. It was right in there somewhere, wasn't it? Yeah, it was right after I got fired from Saturday Night Live.
Okay, that's a nice consolation prize. I think so. Right. I was in Saturday Night Live 1980, the season 8182. So it was the fall of 81 to June of 82.
And then Tootsie was right in the summer there. And then I did Geniuses at Playwrights with Jerry Gutierrez directing. And after that, I did Three Sisters at the Manhattan Theatre Club.
And then from that, I got Amadeus. So if I didn't get the axe from Saturday Night Live, I would never have been able to do Amadeus. When the Lord closes a door, he opens a window. Or a sliding glass door. Or some kind of other thing, opportunity. But with Saturday Night Live, it's not necessarily a firing, is it? It's just we're moving on to the next chapter of people. Well, that's one way of putting it. Yeah, that's what they said. That's what they told me. We're making changes. We're making changes. That's a nice way of saying it. You were part of the family and you were there for the... Get the heck out. No, put us on. Don't come back.
Have you ever sung? So one of my favorite songs is "It Might Be You" from Tootsie. I mean, it was introduced in Tootsie. Oh, yeah. Isn't that a great song? I can hear you singing that song. You should. Oh, it's a great song. We're going to put that on our next Cabaret Act request list for you. Okay. And that's okay. And that's the cards we could write with our little pencils. Yes. Put in the... Is that Stephen Bishop? Yeah.
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It's the Bergman's, the delirium. Yeah, but it's Stephen Bishop. Right, right. Yes. Okay. Sorry, my brain went to the other part of it. Yeah. That was one of our wedding songs. That was it. No, it wasn't. It might be you. Yeah.
Someone's telling me it might be you. Yes, it was. Our wedding. Well, it was one of our songs. Maybe it wasn't out of our way. Why don't we have Christine tell us about it? He didn't screw this up on purpose. I didn't. What do you remember about our...
Michael Feinstein and I sang "This Moment," right? You sang "This Moment." Oh. You and Michael sang "Two for the Road." Oh, "Two for the Road," yeah. Which you... Well, you've done that with Michael in the act you did together. It's such a stunning song. It's a great song. And then Michael sang all the time. That was the wedding. But it might be you. Definitely want to hear you sing that. Okay. Is that when you redo your vows? Yeah. Well, I'm coming up in 10 years next year. This is part of the reason we wanted to see you today. We know that you and Michael started a little bit of a cottage industry after our wedding, you know. But we have our 10-year anniversary coming up a year from now, a year from next March. It'll be 10 years. Can you imagine 10 years? So we're thinking of renewing our vows with a giant party because our wedding only had 12 people. Who better than you? Who better than Michael? And how blessed were we to have that experience, right? Yeah, it was very special. It was very special in spite of what happened. And I've embraced that now. I embrace it. I fully embrace it. It happened. I can't undo it. The road not taken doesn't exist. The one thing we've talked about recently is that we have video from that night. We've never watched it. It was true. Because it was just, but we're going to watch it. There was a story that night because we didn't know if the wedding was going to happen or not going to happen. Postpone it. Walk around, have dinner, send the dinner away.
But when cooler heads prevailed, we got back to the business of getting married. You got to marry us almost twice, at least one and a half times. And then things proceeded and we went down to the dining room. Everybody was feeling very good at that point.
You were feeling particularly good at that point and your father was feeling particularly good at that point. And that's when he started to tell the story. You remember meeting Lenny? Lenny Busta. Of course! I forgot Lenny! He still asks to this day, "How's my friend Christine?" She danced with me. She danced with you. Please give him my best. I will. And you had a dance with him and that made the man's life. Bill, nothing went on. We promised him. Nothing to be worried about. I promise you this.
So that night he told the story that I was a huge Sinatra fan, still am, but back in the day I was kind of a lunatic. I'll leave it at that.
He took me to a convention in 1984, Frank Sinatra convention up in Niagara Falls. Imagine.
Oh, I wish I was there.
All of these Sinatra fans and collectors from all over the world got together in Niagara Falls in a giant hotel, took over the hotel. And they were selling wares and rare records and you could buy anything and everything related to Frank Sinatra. It's like Frank Sinatra for the market. My father and my dear friend from childhood, Anthony Russo, the three of us, my father's a troublemaker if you may have learned from our wedding. Mischief maker. Mischief. He makes mischief. But if you remember, at the convention hall, I was busy doing my Sinatra checking and things. He went and I saw him doing something with a glass and a piece of paper and it was across the room and I went running because I knew this was not going to be good because he's a mischief maker. He's a ball buster at the end of the day. And on that piece of paper, I got there, I picked it up and I read it and I began to tear it up immediately because it said for people to see.
At a bean convention in Boston in 1962, Frank Sinatra farted into this glass five dollars per sniff.
Well, that's terrible.
But apparently.
Where do you draw the line from mischief to trouble?
I think he crossed it. I think it was the moment when the air came back into the room. I think we all needed a good fart joke. You laughed so hard. I'll just never forget. You. She's sitting on a feather.
And that went on for 10 minutes.
Oh, that was that was my love.
Lenny. Lenny. The last time we saw you, we had a little FaceTime visit with your bird who was doing Sally. Big Sally. Yeah. Big Sally. How's Big Sally? Big Sally is a never ending source of life.
He's amazing. He got the name because I thought it was a girl when I bought him at Birds Plus in the San Fernando Valley when I was out in Los Angeles. There's a lot of alone time and I was just very lonely.
And I thought I've got you know, it's it ends up being like Christmas Carol, you know, when you're by yourself and it's like the ghost of Christmas past comes to your room every night. It's late and you're alone in the dark and your your past is reviewed.
And you never get good reviews for good reviews.
For good reviews. I thought I've got to get the attention off. Okay.
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My troubles. So I got to take care of something. But I you know, we had all these cats and dogs already at home and I thought I can't I'm doing a TV show and I can't I've got it. So I got a bird. So I got a bird. So I got a bird. So I thought it was a girl. So I thought, you know, my married name is Maloney. So I thought, you know, like a nice Irish milkmaid kind of sound, you know, Sally Maloney. But then I found out that it was a boy because the boys, the boy birds are the ones that are the singers, you know. So I changed it to Big Sally. How you doing? So from the Irish milkmaid to a thug's life.
But he's just oh my gosh, he's just hilarious. Hilarious bird. Yes. Absolutely hilarious. Yeah. Full on. And then we have three, three dogs. It is eight. Yeah. It's four cats. Four cats, three dogs and a cockatiel and big Sally. Yeah. Big Sally. Yeah. Okay. So you have a full time. Do you have full time help with all this? It's just basically zookeeping now because we're we're in the third act, you know. So now it's the third act of the play. It's a little more stress free, you know, not as much stress. So we can we can manage it. After having spent the last few years, several years out in L.A. You had a very successful TV show, but I understand that was a lonely time. How does it feel to be back? Yeah, it's always was always feeling like it was I was in an outpost, you know. Yeah. Because and especially having the animals, you know, there's something about your animals that just, you know, that they don't care if you've bathed or paid the rent.
They love you unconditionally. There's just something very special about that. But, you know, and it's just it's also signifies home, you know. So that's really where the home was. It was in Maplewood. And, you know, I'm so appreciative and grateful. We have this beautiful apartment in L.A. Oh, my gosh, it's just it's just exquisite. We absolutely love it. And we're just enjoying being back in Maplewood, but really enjoying. It's like a revival of really enjoying New York. Oh, that's why you're going to find this a little nice pied-a-terre somewhere. With a secret door. With a secret door. And a fireplace. That works. A working fireplace. But I don't know. It doesn't. It's fine because it's OK to just be in the imagination of it. You know, it's it's it doesn't cost as much if it's in your imagination. But it is fun for us to search for those because we we love nooks and old spaces and characters. Yes. Yes. Yes. Yes. Yes. Yes. One of the strangest fireplace stories we've ever had was a 1920s building, Park Avenue. And we looked at all the floor plans in this particular line and we had a listing. We said, it's a shame that you don't have the fireplace. The other I guess the higher floors got them. And the owner said, oh, we have a fireplace. Where is it? We covered it with drywall.
Why? For a piece of art that was not very good. And I thought, who in New York City covers an act of wood burning fireplace?
Real estate stories. Yeah. Real estate stories. So, fireplaces. They're good. Yeah, we love fireplaces. We love fireplaces. You'll come to our house. You'll come to our house. No, no, I haven't. You're going to come out. You have to. The only big decision you have to make when you come to our house is what room you want to stay in. Because there are personality rooms. Oh, really? You have three choices and I think I know the answer that Christine will pick. You have Frank Sinatra, Peter Allen, or Noel Coward. Why is she laughing? I just think it's funny. It's funnier than my father's fart jokes. It's just goofy. Funny. It's goofy.
Well, it would probably be Noel Coward. Of course it will. It's a popular room. It's popular. A favorite memory of our wedding night was when we were signing the official papers at the end of the night. And where it said the officiant had to sign her name, we put you down and it said title.
We had to put a title for Christine Eversoll. Do you remember what we put? No. Two-time Tony winner. You didn't put Reverend. We didn't. Reverend two-time Tony winner. I might have put a slash. But I think I put the Tonys first. Fantastic. Reverend Eversoll. Well. Do you still have the power to officiate at weddings? Do you do? Have you done weddings since ours? No. No. Ours was the last. That was the last. That was your retirement from weddings. Yeah. Too much liability. Is it my fault? Is it my fault? Tell me the truth. You could tell me. You queered the deal for me. No pun intended. No. Sign sealed delivered. I'm out.
At our party last summer, a mutual friend just went to you and said, staunch. Do you remember that?
Staunch. There's nothing worse I tell you. Staunch. S-T-A-U-N-C-H. Staunch women. We just don't weaken. What the relatives didn't realize is that they were dealing with a staunch character. Is that what I said? Yes. And a lot more. It went on and on about, you know, red shoes. I'm telling you. It does nothing worse. I'm telling you. Well. Yeah. Those are, we do that still. You do? Yeah. We do the same thing. We have like a lot of men. You just say a line. And even like unconsciously I'll say something and Bill will be like, that was Edie. You know, she, she, she emerges. She's a part of me. You know. Of course. Of course. Our niece was asked years ago, say, uncle Tom, uncle Mickey. Why did, why do you sing everything?
What do you mean? He said, every time we say something, there's a song for it. He said, that's life. I don't know. Except when people say musical theater is an unrealistic construct. It depends where you live and how you live. It's quite realistic to us. We don't have an original score every time. Yeah. No, it's, it's my, it's, we say that all the time. It's all, they go part in parcel. Life, show business, love, family, food, all that good stuff. Yeah.
[inaudible]
From the greatest city on the planet Earth, it's not Tom and Mickey show.
(00:01):
Everything is show-based.
It lights camera action. Presenting...
Christine Ebersole, This Moment.
We are thrilled to be bringing to the show today one of our nearest and dearest friends, the immensely talented Christine Ebersole. Now, if you're thinking to yourself, why do I know that name? How do I place it? It is because she has been living in your brain for decades.
Two-time Tony winner, you may have seen her in 42nd Street or where she played little Edie in Grey Gardens.
If you're a certain age, perhaps you saw her as Mrs. Rich in the film Richie Rich with Macaulay Culkin. She has been in Tootsie. She has been in Amadeus. She has been on television for eons. If her acting weren't just so good, that voice is heavenly.
Boy, is that voice heavenly.
And when Michael and Terrence invited us to have our wedding at their townhouse, a little seed was planted a while back at a dinner party where Christine said,
"When you two tie the knot, just keep in mind that I'm an officiant."
It takes a life to realize what life is all about.
And life is all about this moment.
I'm here with you before we're through. What secret will we tell?
I'll learn to know you well this moment.
How soon... Tony Award nominee, Christine Eversoll.
Are the stars out tonight?
I don't know if it's cloudy or bright.
Cause I only have eyes for you, dear. And the Tony Award for Best Leading Actress in a Musical goes to Christine Eversoll.
42nd Street. But I can't see a thing in the sky.
And the American Theatre Wing, Tony Award, I've always wanted to see this, goes to Christine Eversoll. I left Hollywood when they told me I was over the hill, and now I'm standing here with this most distinguished award for what I consider to be the role of a lifetime. I'm over the hill in the role of a lifetime.
This is so encouraging.
So what made you decide to do this? I'm interviewing you now. Oh, that's fine. The tables have turned so early. What made us decide to do this? We're tired of all those real estate reality shows. How's that? For a starter. And we were on the first one. We were selling New York on HGTV.
(00:22):
And it was lovely, and I don't know if you ever saw it, but it was a way to get people inside of beautiful properties. And the brokers were there to tell a little bit of the story and to be that conduit.
And now it's a... if you know what I'm saying. Because everybody wants to do it or everybody's getting it now? It's all about sensationalism. We're not really wired for sensationalism. But we were thinking, within the real estate space, is there a show that we should be doing or thinking about?
And we talked about it for a long time, and everybody said, "You guys should do it."
And we thought about that space, and we were talking to a client on our way back from a show.
And we said, you know, talking about doing a podcast, he said, "I hope it's not about real estate. Nobody wants to listen to that shit."
Because there are so many real estate projects where they talk about it. And last week, the average co-op sale was down by 2.1%. It's like, "Oh, come on. I mean, really. If that's what you're looking for."
You know, we sell real estate. That's our gig. But you know us, in our soul, we have a lot of the showbiz. A lot of show business clients. And I believe we've counseled you a little bit maybe over the years on the real estate. -Oh, that's true. -I'm not sure. -Well, I don't know. Can you find us something wonderful? -We would you like to put something wonderful? No, we have something wonderful in Maplewood, New Jersey. But I was thinking of maybe just like a little pied-a-terre somewhere that has a fireplace and a balcony. And it was built in, you know, the turn of the last century. -Oh, I like that very much. -And it's not too far from the park. Or maybe Greenwich Village. I don't know. There's so many wonderful places in the people. -It's a good thing Bill's here. -In our business, wanderlust is a side effect. Because we're working downtown, especially in the springtime or fall. -Is that where your office is? -Yeah. We're right by Union Square. Which is wonderful. -I used to live on 13th between second and third. -Oh. -Sixth floor walk up. -That'll keep you fit.
-If it rained when you got downstairs and you didn't have an umbrella, you just bought a new one. -I'm not going back up those six-laces stairs. -We often say in the real estate biz, it's not the work, it's the stairs. -That's what Elaine Stritch said. -That's exactly right. But it started with, no, Mae West. -Oh, it was Mae West. -It was Mae West. She's the original. But Stritchy, she knows how to deliver a line. -She made it her own.
-Talking about real estate, you have the most fabulous treehouse at your property. -Oh, yes. -Can you tell us how that happened? -Purticea Bill Maloney. -If we wanted to have a treehouse at our Long Island weekend house, do we call-- -Is there a tree for it? -Yes. Many trees. So we call Maloney Incorporated? Is that how it happens? -I think so.
-It's really magical, the treehouse. It's two stories. -Two stories. A duplex treehouse. -There's a little sitting room. You walk up these two flights of stairs up the tree and you have to kind of go sideways because the trunk insinuates itself on the staircase.
-Okay. -You kind of have to move sideways to get past the big trunk or one of the branches of the trunk, the psychic trunk. It's that big. And then you have like a little sitting room and then you climb up this ladder and then you're up in this magical place where these windows, you know, there's no electricity. There's no Wi-Fi, nothing like that. So it just has these windows. You're just enveloped by this tree and the breeze and the bugs don't come up that high. They usually stay close to the ground. -We've learned that. -And you just go up there and dream away. -Do you have a little bucket on a pulley like Robinson Crusoe? -Oh, that's a good idea. -For supplies. -That's a good idea. Okay. -See, this is how we add value. -So this is talking about real estate here. -No. -No, but this is our tree house is part of our real estate. -It's part of real estate. -What a nice amenity that is. -It's real estate. -Please stop us if we start talking about the market tree houses. Well, houses with tree houses typically. -We read a report today. -Oh, did you? -Holmes with tree houses have soared in the last two years. -Is that right?
-There's a new trend. I think that would scratch one of my itches from being a kid. I wanted a tree house, a rope swing, and secret passages to anywhere. I might have died at one point because I decided to build an underground bunker with no knowledge of what structure might have meant. So I thought I could just dig a hole, put some twigs on it, but I'm here. You're here. -You survived, yes.
Well, we did have on Ben Avenue, before we moved to Maplewood, New Jersey, we lived on Ben Avenue in Studio City in California.
And we added to a thousand square feet, right?
And in that, we did have one of those secret doorways, remember? That got us between one of the bedrooms into the other bedroom. It went through this walk-in closet. It was really fun. -Very speakeasy in nature. -Yeah, it was. -We loved those kind of secret doors. That happens occasionally. Not so much in New York City apartments. -It does. -It does? -It does? -Those hidden books? -But bookcases that open? Name three.
-That would be fun. -No, I mean, not like the Batman style where you pull the arm of the statue, but hidden bookcases are very common. Like in Frankenstein.
-Remember? -You're talking about some of our clients now. That's terrible.
-The good old days. -The good old days.
-So let's talk about the new-- These days. -These days. -These days aren't so bad. -They're good. Have you seen? You've seen, I know you have. Maybe happy ending.
-Fantastic. -Did you not love it? We saw it the other night with Mr. Feinstein. And we were all-- I just cried and cried on the way. -I told him about that. I just got to see this. -Yes. And he was in town and he said, "Let's all go." And he said, "Christine raved." Spectacular. Because when I saw it with my friend David Rothenberg, who takes me to everything, and he-- When I first was there, I was like, "Really? This is some musical about robots?
Okay. And then as you get-- You start to feel yourself being pulled in.
(00:43):
And by the end, it was like, "Oh, hey, David."
Literally, I was a blithering mess. -We were very moved by it. -Oh, it was so good. -And a beautiful one act. -Just beautiful. -The whole gorgeous story. -Beautiful, beautiful. The Fireflies and Darren Criss and Helen Shen. Do you ever predict Tony Awards? Is that something you do? -Well, it should get everything. -Yeah. -It really should. -Yeah. Hear ye, hear ye. Yeah. It's really special. And for The New York Times, we read the reviews after we see the show. We've learned, do not read a review on a show that you want to see prior to seeing it. -Good batter and good for it. -Right. So, of course, we rushed back after that lovely night and we read it. And for Jesse Green to call it "astonishing." To see the word "astonishing" in a New York Times theater review. -Oh, I'm so glad. -Right? I can't remember the last time we saw that word. And it's also on the wrongs or the other side of Broadway. So it doesn't have that kind of traffic. It's on this little hidden gem that you're going to witness. -Yes. -Oh, so good. Do you keep up on a lot of the current crop of Broadway shows?
-Yes. -Yes. Tell us all the favorites that you've seen.
I loved The Hills of California. Loved that. And Hold On to Me Darling. -We didn't see that. -Adam Driver. Those two plays. Those were my favorites.
I learned something today because we were catching up on our Christine facts.
Your first club act, Mark Shaiman. -Yeah. -Tell us about that. That was in 1980 and I was doing a Camelot. I was playing Guinevere opposite Richard Burton.
-That's a gig. -And then Richard Harris.
Richard Burton took ill.
My dear friend, Eddie Stone, who I grew up with, who has now since departed, he came to me with this idea of doing a club act.
At Ted Hook's On Stage. -I remember that name. -Just 46th Street, I believe. Wasn't it? I don't know. It was in that area. That was when there was a lot of clubs, a lot of cabarets.
He's the one that introduced me to Mark, who was 19.
-And Larry Saltzman, the guitar player, Larry Saltzman, he was in the band as well.
And Larry Saltzman taught Timothée Chalamet how to play guitar. -Wow. -For five years you worked with him. Are you being considered for a redo of hairspray or something anywhere?
-When I play. -Forget it. You had a role of a grandmother somewhere? My point was, you're still friends with Mark to this day, I'm sure. I was so privileged to sing at his 60th birthday party. He'd already been musical director for Bette Midler. I think he started when he was 16. I'm not joking. -My goodness. -He was an old guy. He was just like, "By the time I got to him, he was 19."
-19 and 1980. -Yeah.
-It's a wonderful life. -Truly. -I'll say very rich.
-Richard Burton speaking of rich. -Richard Burton, Richard Harris. -How was that? -I adored them. Absolutely adored both of them. And I had three days to learn the part. You didn't hear about that? No. They were in rehearsal and I was at a club. I was at Ted Hook's on stage listening to someone perform.
He was approached by the casting director and he said, "What would you think about playing Guinevere opposite Richard Burton?" I was like, "Wow, sounds great."
And I went to this audition. I was on the stage with the stage manager, Jerry Adler,
who ended up being an actor in a lot of Woody Allen's movies.
Anyway, so I'm reading with him and then I hear in the back of the house, this very deep, mellifluous voice that said something to the effect of, "I want to read with her." So it was just everything became slow motion. I just look out in the audience and I see Richard Burton coming down the aisle.
(01:04):
And he's got this beautiful blue powder blue cashmere sweater on that just illuminated those baby blue eyes that he had. And he walked up on the stage and there was the ghost light on the stage and he came over to me and he just very gently kissed me on the cheek. Probably both sides since he was from the other side of the ocean.
And we read together and there was that part of me that was wanting to appear calm. I didn't want to just fangirl completely out at that moment. I was just trying to act normal. This was normal that I would be reading with Richard Burton. But the inside of me was screaming. It was kind of like that. And then the producers came over to me after I read with him and they said, "Hey kid, can you learn the part by Friday?" I was like, "Sure." I was like, "Well, I know." And that's what happened.
I didn't understand in my naivete what I was taking on.
When I answered the call, the morning of the performance on Thursday night, that's right, Thursday night, Richard Burton came to me and he said, "Oh dear, you don't mind. The lights are killing me. You don't mind if I don't go on tonight, do you?" I thought, "Oh Lord." So the last chance that you have to rehearse the whole thing is gone because he didn't go on. So I did it with the understudy.
The only time that I ever performed with Richard Burton was opening night. I didn't do it with him up until then because he wanted to take a break, I guess. The lights were killing him.
And then they also were making costumes for me because the girl who played it before, she was like five but three and I'm five nine. So they had to make new costumes for me. So for the first time was opening night that I'm in the costumes with trains and all that. So I remember that Friday morning getting in front of Franz Allers who was this very famous German conductor that I believe he conducted the original Camelot and then he came back and did it for the revival. He greeted me. "Good morning everyone. Good morning Christine. This is it. You introduced me to the orchestra. This is Christine. She's going to be playing Grenadier. We'll start with the simple joys of maidenhood." So he starts to play it and I was in such sensory overload by this point because just for three days it was non-stop, non-stop, non-stop trying to learn the entire part.
I don't know. All right, well let's start again. Let's start again. I don't know. All right, one more time. We'll start again. I can't remember anything. So they just removed me. They said come over here and lay down in this dark room. So don't think about anything. Right, right. Too much. And then that night at the O'Keefe Center in Toronto, you know, sold out audience, 3,500 people.
And there I was. I mean it was crazy. And I remember there was one part during the lusty month of May where... And I'm meeting Lancelot for the first time, right? And so he's coming in and Richard Burton is there and Richard Munes is there. And you know, I'm about to meet them and meet the new Lancelot, right?
And I remember there was a voice. It was almost like the angel and devil were sitting on either shoulder at this moment because the devil just as I'm meeting them and they're talking, talking, talking, talking and my lines are going to come up soon, you know? And the devil just said, you have no idea what you're saying. And the angel's going to be here now. Stay in the moment. Stay in the moment. It was literally like this battle. And it was just the moment that the angel prevailed because the moment that I was supposed to speak, the words just came out. The words were just there. They just came out. It was a miracle. Because you're you and that is your DNA and talent. No, it just was a miracle. It was a miracle of God. That's all I can say because it wasn't by any of my doing. I clearly didn't know what the heck was going on, you know? Wow. It was an amazing experience. And how long did that last? A year. A year.
It was a great experience. Yeah. I mean, really to have those things at the beginning. And then, of course, I left. I didn't want to renew my contract. And so I came back to New York City and like a few weeks later, I got Saturday Night Live.
You know, what is that? My word. Where am I? I'm sure you're not the first Guinevere to get, you know, whisked away to Saturday Night Live. I mean, what? You know, it was just a different galaxy.
We watched a quick little clip today of you doing a weather report without doing a weather report. Oh, yes. You have any memory of that at all. I think I was ranked. They ranked because I did, you know, news update. I was selected. Brian, Dora, and Murray and myself, we were selected for a news update. They rated the from best to worst. The best being number one and the worst being twenty five. I think I was twenty two or twenty three.
My strengths slide in other areas.
No, really, I mean, I think that what the only place I really had confidence or that I had the most confidence was the singing. I felt that I could contribute in the singing. And that's why Dick Ebersole hired me because he wanted to add singing, more singing to the show.
I did go to the fiftieth. Oh, that was fun. That was amazing. Yeah, it was just kind of amazing. You know, it was just great to see everybody, you know, and it's kind of like a big family, you know, even though you never worked with people that were on subsequent years. You just, you know, you're just part of the the tribe of it. So it was great. And your first film role, Tootsie.
It's one of those movies that we watch once a year. It's a perfect movie. It's such a great movie. I was in two perfect movies. Tootsie and Amadeus.
Tootsie fall into the Richard Harris and Richard Burton and SNL. It was right in there somewhere, wasn't it? Yeah, it was right after I got fired from Saturday Night Live.
Okay, that's a nice consolation prize. I think so. Right. I was in Saturday Night Live 1980, the season 8182. So it was the fall of 81 to June of 82.
And then Tootsie was right in the summer there. And then I did Geniuses at Playwrights with Jerry Gutierrez directing. And after that, I did Three Sisters at the Manhattan Theatre Club.
And then from that, I got Amadeus. So if I didn't get the axe from Saturday Night Live, I would never have been able to do Amadeus. When the Lord closes a door, he opens a window. Or a sliding glass door. Or some kind of other thing, opportunity. But with Saturday Night Live, it's not necessarily a firing, is it? It's just we're moving on to the next chapter of people. Well, that's one way of putting it. Yeah, that's what they said. That's what they told me. We're making changes. We're making changes. That's a nice way of saying it. You were part of the family and you were there for the... Get the heck out. No, put us on. Don't come back.
Have you ever sung? So one of my favorite songs is "It Might Be You" from Tootsie. I mean, it was introduced in Tootsie. Oh, yeah. Isn't that a great song? I can hear you singing that song. You should. Oh, it's a great song. We're going to put that on our next Cabaret Act request list for you. Okay. And that's okay. And that's the cards we could write with our little pencils. Yes. Put in the... Is that Stephen Bishop? Yeah.
(01:25):
It's the Bergman's, the delirium. Yeah, but it's Stephen Bishop. Right, right. Yes. Okay. Sorry, my brain went to the other part of it. Yeah. That was one of our wedding songs. That was it. No, it wasn't. It might be you. Yeah.
Someone's telling me it might be you. Yes, it was. Our wedding. Well, it was one of our songs. Maybe it wasn't out of our way. Why don't we have Christine tell us about it? He didn't screw this up on purpose. I didn't. What do you remember about our...
Michael Feinstein and I sang "This Moment," right? You sang "This Moment." Oh. You and Michael sang "Two for the Road." Oh, "Two for the Road," yeah. Which you... Well, you've done that with Michael in the act you did together. It's such a stunning song. It's a great song. And then Michael sang all the time. That was the wedding. But it might be you. Definitely want to hear you sing that. Okay. Is that when you redo your vows? Yeah. Well, I'm coming up in 10 years next year. This is part of the reason we wanted to see you today. We know that you and Michael started a little bit of a cottage industry after our wedding, you know. But we have our 10-year anniversary coming up a year from now, a year from next March. It'll be 10 years. Can you imagine 10 years? So we're thinking of renewing our vows with a giant party because our wedding only had 12 people. Who better than you? Who better than Michael? And how blessed were we to have that experience, right? Yeah, it was very special. It was very special in spite of what happened. And I've embraced that now. I embrace it. I fully embrace it. It happened. I can't undo it. The road not taken doesn't exist. The one thing we've talked about recently is that we have video from that night. We've never watched it. It was true. Because it was just, but we're going to watch it. There was a story that night because we didn't know if the wedding was going to happen or not going to happen. Postpone it. Walk around, have dinner, send the dinner away.
But when cooler heads prevailed, we got back to the business of getting married. You got to marry us almost twice, at least one and a half times. And then things proceeded and we went down to the dining room. Everybody was feeling very good at that point.
You were feeling particularly good at that point and your father was feeling particularly good at that point. And that's when he started to tell the story. You remember meeting Lenny? Lenny Busta. Of course! I forgot Lenny! He still asks to this day, "How's my friend Christine?" She danced with me. She danced with you. Please give him my best. I will. And you had a dance with him and that made the man's life. Bill, nothing went on. We promised him. Nothing to be worried about. I promise you this.
So that night he told the story that I was a huge Sinatra fan, still am, but back in the day I was kind of a lunatic. I'll leave it at that.
He took me to a convention in 1984, Frank Sinatra convention up in Niagara Falls. Imagine.
Oh, I wish I was there.
All of these Sinatra fans and collectors from all over the world got together in Niagara Falls in a giant hotel, took over the hotel. And they were selling wares and rare records and you could buy anything and everything related to Frank Sinatra. It's like Frank Sinatra for the market. My father and my dear friend from childhood, Anthony Russo, the three of us, my father's a troublemaker if you may have learned from our wedding. Mischief maker. Mischief. He makes mischief. But if you remember, at the convention hall, I was busy doing my Sinatra checking and things. He went and I saw him doing something with a glass and a piece of paper and it was across the room and I went running because I knew this was not going to be good because he's a mischief maker. He's a ball buster at the end of the day. And on that piece of paper, I got there, I picked it up and I read it and I began to tear it up immediately because it said for people to see.
At a bean convention in Boston in 1962, Frank Sinatra farted into this glass five dollars per sniff.
Well, that's terrible.
But apparently.
Where do you draw the line from mischief to trouble?
I think he crossed it. I think it was the moment when the air came back into the room. I think we all needed a good fart joke. You laughed so hard. I'll just never forget. You. She's sitting on a feather.
And that went on for 10 minutes.
Oh, that was that was my love.
Lenny. Lenny. The last time we saw you, we had a little FaceTime visit with your bird who was doing Sally. Big Sally. Yeah. Big Sally. How's Big Sally? Big Sally is a never ending source of life.
He's amazing. He got the name because I thought it was a girl when I bought him at Birds Plus in the San Fernando Valley when I was out in Los Angeles. There's a lot of alone time and I was just very lonely.
And I thought I've got you know, it's it ends up being like Christmas Carol, you know, when you're by yourself and it's like the ghost of Christmas past comes to your room every night. It's late and you're alone in the dark and your your past is reviewed.
And you never get good reviews for good reviews.
For good reviews. I thought I've got to get the attention off. Okay.
(01:46):
My troubles. So I got to take care of something. But I you know, we had all these cats and dogs already at home and I thought I can't I'm doing a TV show and I can't I've got it. So I got a bird. So I got a bird. So I got a bird. So I thought it was a girl. So I thought, you know, my married name is Maloney. So I thought, you know, like a nice Irish milkmaid kind of sound, you know, Sally Maloney. But then I found out that it was a boy because the boys, the boy birds are the ones that are the singers, you know. So I changed it to Big Sally. How you doing? So from the Irish milkmaid to a thug's life.
But he's just oh my gosh, he's just hilarious. Hilarious bird. Yes. Absolutely hilarious. Yeah. Full on. And then we have three, three dogs. It is eight. Yeah. It's four cats. Four cats, three dogs and a cockatiel and big Sally. Yeah. Big Sally. Yeah. Okay. So you have a full time. Do you have full time help with all this? It's just basically zookeeping now because we're we're in the third act, you know. So now it's the third act of the play. It's a little more stress free, you know, not as much stress. So we can we can manage it. After having spent the last few years, several years out in L.A. You had a very successful TV show, but I understand that was a lonely time. How does it feel to be back? Yeah, it's always was always feeling like it was I was in an outpost, you know. Yeah. Because and especially having the animals, you know, there's something about your animals that just, you know, that they don't care if you've bathed or paid the rent.
They love you unconditionally. There's just something very special about that. But, you know, and it's just it's also signifies home, you know. So that's really where the home was. It was in Maplewood. And, you know, I'm so appreciative and grateful. We have this beautiful apartment in L.A. Oh, my gosh, it's just it's just exquisite. We absolutely love it. And we're just enjoying being back in Maplewood, but really enjoying. It's like a revival of really enjoying New York. Oh, that's why you're going to find this a little nice pied-a-terre somewhere. With a secret door. With a secret door. And a fireplace. That works. A working fireplace. But I don't know. It doesn't. It's fine because it's OK to just be in the imagination of it. You know, it's it's it doesn't cost as much if it's in your imagination. But it is fun for us to search for those because we we love nooks and old spaces and characters. Yes. Yes. Yes. Yes. Yes. Yes. One of the strangest fireplace stories we've ever had was a 1920s building, Park Avenue. And we looked at all the floor plans in this particular line and we had a listing. We said, it's a shame that you don't have the fireplace. The other I guess the higher floors got them. And the owner said, oh, we have a fireplace. Where is it? We covered it with drywall.
Why? For a piece of art that was not very good. And I thought, who in New York City covers an act of wood burning fireplace?
Real estate stories. Yeah. Real estate stories. So, fireplaces. They're good. Yeah, we love fireplaces. We love fireplaces. You'll come to our house. You'll come to our house. No, no, I haven't. You're going to come out. You have to. The only big decision you have to make when you come to our house is what room you want to stay in. Because there are personality rooms. Oh, really? You have three choices and I think I know the answer that Christine will pick. You have Frank Sinatra, Peter Allen, or Noel Coward. Why is she laughing? I just think it's funny. It's funnier than my father's fart jokes. It's just goofy. Funny. It's goofy.
Well, it would probably be Noel Coward. Of course it will. It's a popular room. It's popular. A favorite memory of our wedding night was when we were signing the official papers at the end of the night. And where it said the officiant had to sign her name, we put you down and it said title.
We had to put a title for Christine Eversoll. Do you remember what we put? No. Two-time Tony winner. You didn't put Reverend. We didn't. Reverend two-time Tony winner. I might have put a slash. But I think I put the Tonys first. Fantastic. Reverend Eversoll. Well. Do you still have the power to officiate at weddings? Do you do? Have you done weddings since ours? No. No. Ours was the last. That was the last. That was your retirement from weddings. Yeah. Too much liability. Is it my fault? Is it my fault? Tell me the truth. You could tell me. You queered the deal for me. No pun intended. No. Sign sealed delivered. I'm out.
At our party last summer, a mutual friend just went to you and said, staunch. Do you remember that?
Staunch. There's nothing worse I tell you. Staunch. S-T-A-U-N-C-H. Staunch women. We just don't weaken. What the relatives didn't realize is that they were dealing with a staunch character. Is that what I said? Yes. And a lot more. It went on and on about, you know, red shoes. I'm telling you. It does nothing worse. I'm telling you. Well. Yeah. Those are, we do that still. You do? Yeah. We do the same thing. We have like a lot of men. You just say a line. And even like unconsciously I'll say something and Bill will be like, that was Edie. You know, she, she, she emerges. She's a part of me. You know. Of course. Of course. Our niece was asked years ago, say, uncle Tom, uncle Mickey. Why did, why do you sing everything?
What do you mean? He said, every time we say something, there's a song for it. He said, that's life. I don't know. Except when people say musical theater is an unrealistic construct. It depends where you live and how you live. It's quite realistic to us. We don't have an original score every time. Yeah. No, it's, it's my, it's, we say that all the time. It's all, they go part in parcel. Life, show business, love, family, food, all that good stuff. Yeah.
[inaudible]
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