February 25, 2025 • 47 mins
On this On the Rocks, curtain up! We welcome Tony Award Winner Beth Leavel to chat about her many, many roles in 15 Broadway shows and counting, we talk about her early days auditioning in NYC, the roles that have left a mark on her life, the joy of originating roles in The Drowsy Chaperone and The Prom, the future of Broadway, the power of Sondheim, and all about her current run in Old Friends alongside Bernadette Peters and Lea Salonga...with your sassy host with the sassy most, Alexander Rodriguez! Raise a glass, it's On the Rocks!
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Episode Transcript
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Speaker 1 (00:01):
Strawut Media.
Speaker 2 (00:03):
Hello on the Rockers. Curtain up, we are chatting with
Broadway veteran fifteen Broadway shows under her Tony winning belt.
Beth Levo is here to chat career life and some
behind the scenes stories from her current run and Somedheim's
old friends headed to Broadway with me, your sassy host
with the sassy most. Raise a glass that the drinks begin.
We are the ladies who lunch today. It's on the Rocks.
Speaker 1 (00:28):
Thank you.
Speaker 2 (00:30):
Life is a banquet and most poor suckers are starving
to death. I'd like to propose a toast. This is
on the Rocks with Alexander, where I drink with your
favorite celebrities as you talk about fashion, entertainment, pop culture,
reality TV, and well that's about it. So pop a cork,
lean back, and raise a glass to arm the Rocks.
Speaker 3 (00:52):
Pleasing your see it's starting to be.
Speaker 2 (00:54):
Out buttons and bows and panty hose On the Rocks.
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(01:16):
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(01:38):
Let's get the show on the road. Bethleevil is a
Tony Award winning stage and screen actor who's lasting on
Broadway as the Baroness and Lampeka. For her performance at
the title character in The Drowsey Chaperone, she received Tony
Drama Desk, Outer Critic Circle and LA Drama Critics Awards.
She also received Tony New York Outer Critic Circle and
no other nominations for her roles as d d Allen
(01:59):
Lebron and Florence Greenberg and Baby It's You, and her
list of theater credits are longer than a CBS receipt.
She also starred as Miranda Priestley in the Chicago premiere
of the musical adaptation of The Devil War's product. She
has dazzled and delighted sold out audiences with her cabaret act,
which she has taken from fifty four Below in New
York City to other venues across the US. She's currently
(02:19):
tearing up the stage alongside Brendetta Peters and Leyaslanga for
the Sunheim tribute show Old Friends at the Aminson in
Los Angeles, running for four weeks only. You better get
your tickets immediately. It plays until March ninth. Please welcome
the fabulous behf whoa, that's a mouthful. You've worked girl,
(02:41):
like you have worked me.
Speaker 3 (02:43):
What an intro? Oh my gosh. And just so I
can tell you, it's Beth level.
Speaker 1 (02:48):
Level like on like sea level on level bevel.
Speaker 2 (02:53):
And do you know I knew this and I even
spelled it phonetically here because like in my years of podcasting,
that's that's my hang up is like I read it
and my mind says something else. Oh my lord, I
don't care.
Speaker 3 (03:04):
I don't care.
Speaker 1 (03:05):
Thank you, thank you for that fantastic introduction in those pictures.
Speaker 3 (03:09):
So it's like, oh my gosh, I did all that,
I did all.
Speaker 1 (03:13):
That, and to be back here, you know, I have
such fond memories of Yes, pause, of the drowsy chaperone, Yes,
and coming back here is it's just like coming home.
And thank you Los Angeles audience is for being so.
Speaker 3 (03:28):
So amazing and loving this show so much. You just
lift us up.
Speaker 2 (03:32):
So thank you that applause opening night, and from what
I understand, every subsequent night is just thunderous. And I
see all the shows that come to the amend Sen
I have to tell you that show has unified a
whole audience, old, young, gay, straight totally. You know, everybody
is just enjoying and coming together and celebrating this wonderful
man his material that has kept us going through good
(03:54):
times and bad times.
Speaker 3 (03:56):
Yes, I've seen them all.
Speaker 2 (04:00):
Now, you're a North Carolina girl, What did you learn
on early on in life in North Carolina that you
still subscribe to to this day? Like what you learn
about life early on growing up?
Speaker 1 (04:11):
Lead with kindness Okay, yep, order the fried chicken. You know,
just some good old kind values.
Speaker 3 (04:21):
Not an ounce of theater.
Speaker 1 (04:22):
You know, no one around me did theater in North Carolina,
which to this day I wonder where in the world
did I get this curiosity because it wasn't in North
Carolina until my senior year in high school when a
friend of mine wanted me to audition for the Spring musical.
Speaker 3 (04:37):
And I was like, I really don't even know what
that is.
Speaker 1 (04:38):
She said, it's a really great way to meet guys.
Speaker 2 (04:43):
That is wrong on so many levels and.
Speaker 3 (04:46):
Right on so many best levels, and I just thank you.
Speaker 1 (04:50):
I remember going into it was like a band room
that we had rehearsal, and from the very first day
I was there, was like, who are these people and
where have they been in all of my life? And
how can I be with them for the rest of
my life? And that's what my journey has been, staying
with my people, seeing what kind.
Speaker 2 (05:09):
Of things were you watching them growing up? If you
weren't like into the whole musical theater scene, like what
every once in a.
Speaker 3 (05:14):
While we would go to a movie.
Speaker 1 (05:16):
It's not like, you know, oh my god, I had
to stay in my room and clean, but it just
wasn't a thing for my family. And I do remember
I think I was about thirteen years old and we
went to a movie and I saw The Music Man
and it was one of those moments that I remember
leaving just like at a good theater, leaving my body and
(05:39):
looking at Zanita going like this and transforming into a
cheerleader and you know, a majortte. I went, what is
this magic? What is happening? And it was like a
little spark hit me deeply.
Speaker 2 (05:57):
I have to tell you one of my very first
movie musicals I remember seeing and falling in love with
and grabbing my mom's record out wasn't The Music Man.
And we got to interview Shirley Jones here. But that
movie inspired a lot of people I know.
Speaker 1 (06:11):
Who knews like, you know, people sing and dance as
opposed to talking.
Speaker 3 (06:16):
I want to do that just a little flybar too.
Speaker 1 (06:19):
I had never been to New York and my father
was really big into the Lions Club. Yeah, so anyway,
the International Lions Convention was in New York that year
and I was fifteen, I think, and so went to
New York for the first time. It was terrifying because
it was so huge and so kind of dirty. And
(06:41):
I do remember my mother said to me one morning
in the hotel, you have two choices today for something
to do.
Speaker 3 (06:47):
In New York.
Speaker 1 (06:48):
You can come with me and one of her best friends.
We are going to a show called Mame. It's starring
Angela Lansborg. Or you can go with your dad and
his friend on the subway to a Yankees game.
Speaker 3 (07:03):
Who I went to this on the subway to a
Yankees game? No? What an idiot?
Speaker 1 (07:11):
What would have happened to fifteen year old little Beth
from North Carolina had witnessed and the Lansbury and the
entire Broadway Company of Maine on Broadway.
Speaker 4 (07:23):
Hmm.
Speaker 1 (07:24):
But I don't remember anything about the Yankees game. I
do remember being a little scared on the subway and
yet excited, excited and scared.
Speaker 2 (07:33):
But it's odd that you didn't go see that show.
And also you didn't even go to college originally to
pursue acting. You made up your mind senior year at Meredith,
but you were studying social work.
Speaker 3 (07:45):
I did well.
Speaker 1 (07:45):
They didn't have they didn't have a musical theater a
theater major. So but I did everything once my freshman year.
That's when it began. It was like what can I do?
I did everything I could get my hands on, but
there was no majoryar, So I have a I have
a degree in social work and.
Speaker 3 (08:02):
Counseling, which really has come in quite handy as an
actor listening and responding.
Speaker 2 (08:08):
Yeah, so yeah.
Speaker 1 (08:09):
And then you know, at the end of my senior year, Meredith,
my I had a fantastic teacher, Linda Bamford, and she said,
I think you probably should consider going to New York
and I win you your mind, so I decided to
just go to school again. So I have I have
a master's degree, a Master of Fine Arts in Acting
(08:30):
and Directing from the University of North Carolina at Greensborough,
which two years ago they gave me an honorary doctor degree,
so you may call me doctor level.
Speaker 2 (08:38):
Well yes, uh, and you were named also merediths College uh,
Woman of Achievement as well. And what an honor Because
I read the rest of the list of their you know,
Ruth is there and it's like, what a circle of
life for you to be Like, yep, that's where I
came from. And look look at me now.
Speaker 1 (08:59):
Good, Yes, that's a very lovely way to put it.
Speaker 3 (09:04):
Thank you?
Speaker 2 (09:05):
What was like the biggest shock in moving to New
York City?
Speaker 3 (09:09):
Besides moving to New York City.
Speaker 1 (09:12):
I lived on a fifth floor walk up, slept on
a couch, could care less. It was like the best
thing ever. Because I was in New York City. I
had gotten my equity card, you know the union we
have to be in to be an actor. Doing a
season at Pennsylvania Stage Company. And I remember being on
the bus with my little equity card thinking I'm an actor.
(09:34):
So I would get up, you know back in the
dark ages every Thursday, the copy of Backstage magazine. I
can remembertage a Backstage reports online and all that. I
would go down to Smiler's, which is like a deli
chain in New York City, and I would get the
hard copy of Backstage. And I decided, because because I
(09:56):
was an actor, I needed to start drinking coffee.
Speaker 3 (09:59):
So I would get my cup of coffee.
Speaker 1 (10:00):
Put sweet and blows in it, go and sit on
a bench, take that backstage and start circling everything that I.
Speaker 3 (10:07):
Could audition for that week.
Speaker 1 (10:09):
I auditioned for a mime company that went well, for
a puppet company that went well too, But I was
so joyous being there and pursuing what I was supposed
to be doing, not having any idea what was in
the future for me.
Speaker 2 (10:29):
Did you do you have any early audition horror stories?
Speaker 4 (10:33):
Most of them, thank you, No the ones people assume,
and people assume that I'm like a skilled technical.
Speaker 3 (10:45):
Dancer because I've done forty second Street and crazy to you.
I have minimal skills.
Speaker 1 (10:49):
I just fake it really, really well, and I know
tap enough to get me in trouble.
Speaker 3 (10:54):
And I went to audition for some new regional.
Speaker 1 (11:00):
Musical and I got through the singing call and everything,
and they said, can you come back for the dance call?
Speaker 3 (11:05):
And it was like, oh no. So the dance call
was like three hours later.
Speaker 1 (11:12):
So I go to the studio and I'm still in
my white cream pants suit, my audition uniform. And I
get there and it looks like the cast of a
chorus line.
Speaker 3 (11:20):
You know.
Speaker 1 (11:20):
It was the eighties, so there was leg warmers and
headbands and jazz hands.
Speaker 2 (11:25):
And that was just the guys, and that was the yeah.
Speaker 1 (11:29):
And I walk in the choreographer goes, oh, Beth, why
don't you just go ahead and change into your dance clothes?
Speaker 3 (11:34):
And I was like, these are my dance.
Speaker 1 (11:37):
Cloths and then he starts twirling this and it was
way past my pay grade.
Speaker 3 (11:47):
And I tried the best I could and.
Speaker 1 (11:52):
I got the part because I was so funny trying
to act like a dancer.
Speaker 3 (11:58):
So that's not a horror story.
Speaker 2 (12:00):
But that's how you make like a negative experience and
you make it a positive and personality selves exactly.
Speaker 3 (12:07):
Course the show never made it to New York.
Speaker 2 (12:09):
But like that dancer in the back.
Speaker 3 (12:11):
That's there you go.
Speaker 1 (12:12):
But that was interesting. I've yeah, I've I've done a
show where I brought it. You know, you learn, particularly
you know when you're first starting, you learn what works
for you in an audition room.
Speaker 3 (12:24):
If they don't know who you are, what are you
going to sing?
Speaker 1 (12:26):
And I remember bringing to an audition because I had
just done a Jason.
Speaker 3 (12:31):
Robert Brown song. Now you better pray that you're a companess.
Speaker 1 (12:38):
Is skilled enough to do a complicated sondhime or a
Jason Robert Brown song. And it was so bad, and
I felt so bad for the person playing the piano
because we had we just had to stop and I
apologized and then I sang.
Speaker 3 (12:53):
I got rhythm.
Speaker 2 (12:57):
And Beth is it true? One of your big first
was understudying Lucy Arnetz.
Speaker 3 (13:03):
That was that was I think one of my first
equity jobs.
Speaker 1 (13:07):
She and her husband Larry were doing I Do, I
Do a little mini tour and.
Speaker 3 (13:13):
I understudied Lucy. I never went on, but it was.
Speaker 2 (13:16):
Fun experience as a young as a young actor and
brushing elbows with Hollywood.
Speaker 3 (13:22):
Yeah, and she's terrific. She's just terrific.
Speaker 2 (13:28):
You have original. It's because I'm a big fan. I'm
a big fan. I just can't pronounce your last name,
but I'm a big fan. What role was it that
you did that you felt like it clicked? You're like, Okay,
I'm an actor. Now i can breathe a little bit
and I've kind of made it.
Speaker 3 (13:47):
Wow, that's that's interesting.
Speaker 1 (13:48):
A little part like originating a role in Crazy for you,
it was like, oh, that was my first original Broadway
show that felt like, oh, I can do this.
Speaker 3 (13:59):
But it really wasn't until.
Speaker 1 (14:03):
Drowsy Chaperone that I felt oh, essentially the role kind
of was written for me and was written for my
comedy and my voice, and that's when I felt ownership
to this crazy world. And then I won, you know,
a Tony Award and that changed my life.
Speaker 2 (14:24):
Where were you when you found out that you had
the nomination? Were you like watching?
Speaker 3 (14:29):
No, I couldn't do that. I tried to sleep and
you know, drowsy.
Speaker 1 (14:34):
That year was the last show to open before the
Tony cut off, So we were doing all this opening
night and.
Speaker 3 (14:41):
Oh, hey, there she is, there she is brass and
all this kind of stuff. And so literally my husband
at the time, I said, just.
Speaker 1 (14:49):
You know, when they're announced it, come wake me up
and just tell me yes or no, that's okay, We'll
just go.
Speaker 3 (14:53):
On with our day.
Speaker 1 (14:54):
And my husband, my first husband, John, came in and
he was crying.
Speaker 3 (14:59):
You were nominated and it was Danny nominee. He said yes, and.
Speaker 1 (15:02):
So I just I burst into very joyous tears. And
then the phone starts ringing, and then then you do
all the beautiful things that are in circle being a
Tony Award nominee.
Speaker 2 (15:15):
And how did winning the Tony How did that kind
of change your view of your career, what you wanted
to do next.
Speaker 1 (15:21):
Once you have that that moniker of Tony Award winner,
it just makes some doors a little easier to open.
It kind of lifts your status in the world because
you're a Tony Award winner. But then again, you're a
Tony Award winners, like, what are you going to do next?
Did you really earn that Tony Award? And so then
(15:43):
I don't even remember the next thing I did. But
it just it makes it makes getting work.
Speaker 3 (15:49):
A little easier. I hope that continues.
Speaker 2 (15:55):
Well, you haven't stopped, Like literally when you look at
your kinds like which she only had a month in between,
like it's been going on and on and on.
Speaker 3 (16:03):
It was fresh.
Speaker 2 (16:08):
I got this question from from a theater actor, and
number one, I have to say, when people knew you
were coming on the show, I got messages from tons
of people from entertainment and fans. Everybody that's worked with
you loves you. I couldn't find any dirt and I
tried real hard. I'm kidding, but all of these positive
messages that I get that you are such a joy
to work with and you have such a positive person
(16:31):
and you know your fans love you. But I got
this from an actor. You've originated unated, you've originated roles,
you've done classic roles. What is your creative process when
you first get cast? And is it different whether you're
doing a role that we all know and love or
whether it's original, Like what is your actor process?
Speaker 3 (16:49):
Well, I can spend all day talking about this. It's
not easier. That's not the right word. It's when you
originate a role.
Speaker 1 (16:58):
It never relies on someone else's history.
Speaker 3 (17:02):
It's all your DNA.
Speaker 1 (17:03):
So like Drowsy and prom when it's written for you
and you're in a room with the creatives who know
you and are smart and start molding the role around
what works best for you and the show, But it's
all Beth Level's energy and Beth levels DNA. Unlike if
I've done Mama Rose three times and I like to
bring my own stuff.
Speaker 3 (17:24):
To it, but it's not broken, right.
Speaker 1 (17:27):
I don't want to reinvent something that's you know, I
think is one of like the King Lear of acting
roles for women or men, but for let's just say
for me. So But I always start by the same thing,
being in a room, being available, being professional, listening and responding,
and directors tell me that usually I walk into a
(17:49):
room and I throw everything I have up against the
wall and we all see what sticks and what works
best for the for the show, and take from there,
so it was one of them I really appreciate.
Speaker 3 (18:03):
Sorry interrupted.
Speaker 1 (18:04):
One of the things I really appreciate about this show
is that they they didn't want me to imitate anyone else.
When I do I get the privilege of singing ladies
who lunch. It was like, you know, you just you
just do you. And to be able to do that
and my own spin on it and this audience, it's
it's it's one of the highlights of my career doing
(18:26):
it here because of how much fun and the connection
I have between the audience sometimes music, and me singing it.
Speaker 3 (18:36):
It's really it's really joyous.
Speaker 2 (18:39):
So let's talk about well, let's talk about ladies who lunch.
You know, you see in the program you're like, oh,
Beth is doing that. It was great. You come out,
there's no you know, there's no cocktail glass in your hand.
I was like, oh, okay, I know that's a little difference.
Speaker 1 (18:53):
As for that, I said, can I not hold a
cocktail glass? And they were like, oh, go ahead, you
do what you want to do.
Speaker 2 (18:59):
And and it's hard for theater lovers, Sondheim fans, you know,
you hear those first few chords, it's hard not to
hear Elaine Stritch's echoes and Patti Lapone's echoes. But I
have to tell you, the minute you took to that stage,
it was a different energy. It was a different interpretation,
and it wasn't a different interpretation, just to be a
different interpretation. And you've talked before, You're like, you know,
(19:21):
I'm not a singer, I'm not an actor. I'm a storyteller.
So in Ladies Who Lunch, where did you start? And
what story are you telling? Because what you saw the audience,
I mean, come on, but it's magical. It's like re
experiencing this song all over again.
Speaker 3 (19:38):
Thank you. It's like this woman. I think she's come
from lunch.
Speaker 1 (19:43):
She's probably had a couple of cocktails, and I think
is reflecting on her life and sharing it and the
good and the bad. And as much as she dishes
about the Ladies who Lunch, she is the.
Speaker 3 (19:54):
Ladies who lund God damn it. And I think it's
that's kind of the arc of it. And then I
like to play with the audience.
Speaker 1 (20:03):
And share my story like they're all at lunch with
me and I've been you know, it works, and I've
been given permission to do that by the creative team,
and every night's a little different depending on the audience
and our relationship. And it's really it's really fun.
Speaker 2 (20:24):
Now you are a leading lady a Broadway. We know
your consummate experience and your long resume. Do you ever
and you've you've performed with everybody, do you ever get
what I would call starstruck?
Speaker 1 (20:40):
Yes, i'ming on stage with Bernaette Peters and lay us along,
you know, but we're all, you know, we're all kind
of functioning as an ensemble.
Speaker 2 (20:51):
It is such an ensemble piece. There's not one week
actor on that stage, which we know is really difficult
to do, especially when you're doing music of this caliber.
That's what everybody comment was saying during the intermission. It's
like everybody has a right to be there, and everybody
could lead that show. That cast is so damn talented.
Speaker 1 (21:08):
That's one of the reasons I was so attracted to
doing this because we were such an ensemble and this.
Speaker 3 (21:13):
Cast is ridiculously talented.
Speaker 1 (21:18):
So yeah, but I do get a little starstruck, But
you got to do the work, so you kind of
have to get over it and like get over it.
What I also, oh my god, I'm working for blah
blah blah blah blah.
Speaker 2 (21:29):
What I also loved was seeing actors have so much
grace towards the other actors, letting somebody else have the
spotlight for that song or having their moment. It was
just so respectful and then it came together so beautifully.
But what's it like to rehearse a show with Bernadette Peters?
I mean, what was the rehearsal process for this show?
Because the show starts and it does not stop.
Speaker 3 (21:50):
It does not stop.
Speaker 1 (21:51):
It was interesting at this show because half of our
cast had done the show in London, right Bernadette and
Leah so in New York cast got there a week
early and we're like, here's.
Speaker 3 (22:04):
Choreography, Suwon, here's here's your.
Speaker 1 (22:07):
Second alto parts Beth in Sondheim, and was like, oh,
there was a lot of homework, a lot of a
lot of trying to catch up, and then when the
fabulous Brits got here we put it all together.
Speaker 3 (22:19):
It was it was intense. It was really intense.
Speaker 1 (22:23):
And then you get here in the set and the
lights and the quick changes. You should see what happens
backstage lot.
Speaker 3 (22:30):
It looks so smooth.
Speaker 1 (22:31):
When we come on, but it's it's excitingly it's bedlum
back there sometimes. And so Bernadette's consummate professional. She would
always come in wearing her show shoe heels, and here
I am and my crappy sneakers. I'm like, Beth, get
your show shoes on, Bernard, and I can do it.
(22:53):
Can you please get your show shoes on? So she
inspired me to be a better professional. And the kind
it's just you know, they're lovely, just lovely.
Speaker 2 (23:06):
Now having the opportunity to storytell so many different composers work,
how does working on Sondheim's material, How is that different
than the other material that you work on.
Speaker 3 (23:19):
Yeah, well, just like.
Speaker 1 (23:21):
You were saying, when I see Ladies improving, you have
a history of it in your head.
Speaker 3 (23:28):
So approaching his work trying to see it for the
first time.
Speaker 1 (23:37):
As an ensemble and with some new orchestrations and new
tones and new storytelling about it, but still being truthful
to the brilliance of the work. Is I think done
really successfully here, but sometimes hard. It's complex and difficult
(23:59):
and fascinating, and because of that, it's so satisfying. Once
you get these zillion lyrics in your head and in
your muscles. To really live in that life of his
work is unlike anything I've experienced. It's a privilege to
(24:22):
sing his stuff, and I one of my biggest things
is I wanted to make sure that I did it
so if he was in the theater, he would go,
good job, good job.
Speaker 2 (24:38):
I hope you on a percent. And that orchestra is beautiful, and.
Speaker 3 (24:43):
They're right there with us. They're another cast member up there.
Speaker 2 (24:48):
Now. The show is and I'm not giving anything away,
but the show ends on a very emotional you know,
note pardon the pun, but it's very bittersweet to enjoy
an of Sondheim with some of Sonheim's leading ladies. It's
bittersweet because it is also very sad. It's like that,
you know, theater will live on, but that man is gone.
(25:12):
I know, especially now that we're in so much tourmoil,
we don't know what the hell is going on.
Speaker 1 (25:17):
So I remember when we got here, the Americans had
never seen there's a slight video montage celebrating Stephen, and
we had never seen it. And we're on stage in tech,
you know, and our sneakers and stuff, and we're all
on stage looking at these photos and Bernadette is crying
(25:45):
and I remember just holding her hand, thinking, Wow, what
she must be feeling watching this, and how much their
relationship meant to her personally and a career.
Speaker 3 (26:02):
It was so moving, So.
Speaker 1 (26:06):
Being in that moment every night on stage, with all
of us on stage celebrating him.
Speaker 3 (26:13):
I've never done anything like that before. It's kind of.
Speaker 2 (26:17):
Magical the word I was just going to say. It
was magical. And for those of us sitting in the audience,
you could hear a pin drop and that audience was
over full.
Speaker 1 (26:25):
And I turned around too, and you know, once we
see an audience is like you know, and I.
Speaker 3 (26:30):
Said, I feel you.
Speaker 1 (26:31):
You know, what this man has added to our existence.
Speaker 3 (26:37):
Is priceless.
Speaker 2 (26:39):
And it's funny that it's called old friends, you know,
like I was saying it, we don't know what the
hell is going on in the world right now, and
it's so comforting to come back to material that we
know and love. We know these lyrics backwards and forwards,
and you know, it's it's modern day Shakespeare. There's no
reason we should know all of these lyrics like you
know that quickly there's a lot but yeah, yeah, that's what.
Speaker 3 (27:00):
I love too. About the show.
Speaker 1 (27:02):
You know, we start another celebration of a show and
you can hear the audience.
Speaker 2 (27:06):
Go yees yea, yeah.
Speaker 3 (27:12):
Sweeney. It's very exciting. We also have the luxury here
at the Aminson Is.
Speaker 1 (27:17):
It's really large backstage, which we're going to really miss
when we go to Broadways.
Speaker 3 (27:27):
So I find myself sitting in the wings.
Speaker 1 (27:29):
There's actually chairs and you can sit and I just
listen to Westside's story and it is so thrilling.
Speaker 3 (27:38):
So I can imagine what it must be like to
sit in the audience.
Speaker 2 (27:41):
Oh, as an actor, you're having to go from scene
to scene, character to character. You're not just playing one character.
You're not just celebrating one show. What is your warm
up like? Because you you have to be able to
turn on a dime. It's comedy one minute, it's drama
dy then it's pure drama. As an act, like, how
do you keep all of that together? What is your
(28:03):
warm up process?
Speaker 3 (28:05):
It depends on the show this one.
Speaker 1 (28:07):
You know, I do a vocal warm up in my
dressing room, but then the first number is from something
from and that kind of physically warms you up.
Speaker 3 (28:15):
It's so easy to go with his music and lyrics.
Speaker 1 (28:21):
It's easy to click into the next moment just by listening.
And it's so easy. I sit in the wings and
watch the end of Sweeney Todd and I kind of
watch it as Beth level getting managed to do Ladies
who Lunch. So by the time I'm on stage, it's
like I'm already like did they just kill some you know,
It's like.
Speaker 3 (28:40):
I'm already there. It's easy to do.
Speaker 1 (28:45):
I do a Gavin Lee and I have a duet
of It's the little things you do together, and you
hear that music, and he and I have like kind
of an improv we do as we're setting up the chairs,
and by the time you sit down, it's like, oh.
Speaker 3 (28:58):
We're already there. Okay.
Speaker 1 (29:01):
His work makes that very easy and available and accessible
to an actor.
Speaker 3 (29:05):
You just have to listen.
Speaker 2 (29:08):
Now, how do you wind down after the show?
Speaker 1 (29:13):
Well, in Los Angeles, I go back to my hotel
room and have a snack and a glass of wine.
Speaker 2 (29:22):
You have played so many strong women in your career.
What role has spoken to you the most? And maybe
it was just that at that point in time, kind.
Speaker 1 (29:33):
Of all of them in some way, shape or form,
whether it's something about the role or whether it was
something about doing that role in this particular part time
in my life. I did Mom a Rose, and I
was terrified to do it at a theater called the Muni,
which is that huge theater in Saint Louis that seats
eleven thousand people, and I was really terrified that it
(29:56):
was just gonna be too much.
Speaker 3 (29:58):
And man, I it.
Speaker 1 (30:02):
Was one of the I felt so good about my
relationship with Rose.
Speaker 3 (30:09):
That it kind of changed my life a little bit.
Speaker 1 (30:11):
I don't really know how to explain that any better,
but it was so satisfying and I lost Beth in
there some place.
Speaker 3 (30:19):
I'm also felt the same way about d d Allen
in the prompt.
Speaker 1 (30:22):
I had such ownership to her. I was so proud
of her.
Speaker 3 (30:28):
And the journey, the arc her life.
Speaker 1 (30:33):
How in this one glorious musical, you could see this character,
this woman changing in front of your very eyes with
the magic of show tunes and comedy. And then I,
like I did Florence Greenberg and Baby at Ju and
it was the first time that my picture was above
(30:55):
like in front of the theater. The show didn't last
very long and it had definitely has some issues, but
it was the first time i'd ever ever had to
really drive a train by myself and be responsible for
the tone of the company. So that changed my life.
Sometimes you do a show and it changes your life
because you meet someone, yeah, and you learn something. Sometimes
(31:20):
you learn something because the show is really not successful
and you learn something.
Speaker 3 (31:26):
Sometimes you learn something because.
Speaker 1 (31:27):
You get bad reviews, which I don't read reviews, but
good or bad. But I just feel like I'm a
kind of a perpetual student in my work that I
have to stop if I feel like I can't learn
anything else or grow.
Speaker 2 (31:44):
That was fresh too, That's such a good way to
put it, because but we have seen you role after role.
It is it's like there's you see this arc in
your you know, in your personal life, through all of
these stories. In every role you congress like, wow, she
did that that was so different than the other role,
than the other role, than the other role.
Speaker 3 (32:04):
And that's writing too.
Speaker 1 (32:06):
You know, I can only bring Beth into something that's
that that helps me with songs or or you know,
the story in the book. And again that's not an
issue here with mister Sometimes work.
Speaker 2 (32:21):
Now, as an actor, how do you work through a
situation where you know the show is just not quite
what it should be, and you have to go on
stage night after night.
Speaker 3 (32:30):
You just you have to do it.
Speaker 1 (32:31):
I believe that everything I'm in and this is probably
very Pollyanna and naive of me, but I believe every
show is fantastic.
Speaker 3 (32:40):
It has to be. I just closed Lempika, and even though.
Speaker 1 (32:45):
It didn't run very long and the reviews were pretty terrible, boy,
our audiences went crazy for it and it changed some lives,
and I get I still get people talking about that show.
So I just think storytelling in theater changes lives, even
if we.
Speaker 3 (33:03):
Don't know they're changing it.
Speaker 1 (33:06):
And it's my responsibility to do the best I can
with every performance. Yeah, it's easier when you don't look
out there and it's like, oh gosh, well no, there's
no one in the balcony tonight. Okay, wonder what's next
that you.
Speaker 3 (33:23):
Know, show business book. But that's just the reality.
Speaker 2 (33:30):
We are now starting to talk about mental health a
lot in the entertainment industry, and it's about time, going
from role to role, raising two kids, having to put
yourself and exhaust yourself emotionally and physically on stage every night.
How how have you maintained your mental health. How has
that journey been for you of show after show? Right?
Speaker 3 (33:51):
You know, the work doesn't exhaust me. It gives me.
It energizes me.
Speaker 1 (34:00):
And to find the balance between my work and my
personal life, my marriage, my kids, my pets is equally
as important.
Speaker 3 (34:14):
And some years it's really easy. Some years it's tough.
Some years.
Speaker 1 (34:18):
I remember, right before Drowsy happened, I think I may
need to maybe work at Macy's, you know, because I
was the breadwinner for so long.
Speaker 3 (34:29):
And then Drowsy Chaperone happened.
Speaker 1 (34:31):
I tell you know, I teach occasionally, which I just love,
and I tell my students the good news and bad
news about being the actor is the bad news it's
that you just never know what the next day is
going to bring. The good news is you just never
know what the next day is going to bring. Because
I was thinking about, Oh, I should work at Macy's
or teach, and I got a phone call pretty much
(34:52):
that afternoon from my agent, going, you have a job
offer for and I was like, oh, I'll take it
whatever it is. Man for the Drowsy Chaperon, which initially
I didn't get that part.
Speaker 2 (35:03):
Did you know that I did not know that.
Speaker 1 (35:05):
Yeah, I didn't get it. I'm not sure they knew
the character I played, Beeter Stockwell, the drowsy chaperon wasn't
really on the page. Mean, it's not like, oh, a
woman entered. They were trying to find out who she was.
So I got a call back and I went and then,
which doesn't hardly ever happen, the director called me Casey.
(35:28):
He said, thank you so much. We're just we need
to go in a different direction with this character. And
I went, I totally, I totally agree. Maybe you need
someone older. I mean, this was a while ago. So
they flew out to LA to audition some TV divas.
Speaker 3 (35:44):
And I don't know what happened. No one got the job.
Speaker 1 (35:47):
They came back to New York auditioned, and I think
out of desperation, Casey went, just give it to Beth.
Let's see what she does with it. And that was
that phone call. And literally my agent said, you need
to pack your bags. You're leaving for Los Angelas for
a eight week out of town tryout in three weeks.
Speaker 3 (36:05):
Okay, oh, oh children, mamas, And that was that.
Speaker 2 (36:14):
Now, having taught students and seeing, you know, the fresh
faces that come into the theater. What do you think
the biggest challenges are for uh, a new actor on Broadway.
Speaker 3 (36:27):
Yeah, I think from hearing the energy.
Speaker 1 (36:30):
You know, I'm really grateful that I wasn't trying to
get a career with all the social media stuff.
Speaker 3 (36:40):
That's just kind of out of my wheelhouse.
Speaker 2 (36:42):
You have five posts on your Instagram? I have what
you have five posts on your Instagram.
Speaker 3 (36:48):
It's just intimidating me.
Speaker 1 (36:51):
So, I mean, having to deal with that and followers
and all that stuff. I just always tell my kids
to thine own self be true. And then it's technical
stuff like if you're going in and you want to
be in a musical, you really have to show the
people behind the table who you are as an artist
(37:14):
or who you are becoming as an artist, which means
finding a great song that's truthfully storytelling with the great song.
Speaker 3 (37:20):
You know. It's just it's it's.
Speaker 1 (37:23):
A it's a hard business, but I wouldn't change it
for anything and just be available to grow and to
learn and to listen.
Speaker 3 (37:34):
Yeah, it's it's it's tough. And hopefully if you move to.
Speaker 1 (37:39):
New York or LA you can you know, you can
have a life in the theater. Anywhere, but just you know,
have some money in the bank so you don't have
to starve.
Speaker 2 (37:48):
Easier said than done.
Speaker 3 (37:51):
Know you'm starved, all right.
Speaker 2 (37:55):
Well, spill the tea. We of course all the gays
want to know about putting together other Miranda Priestley singing
Elton John music, because you have a character that has
become iconic that we know from the film but has
never been done on stage, and so you had to
play with both of that.
Speaker 1 (38:11):
It was fascinating and I think it was such a
challenge because the movie is so beloved. How were you
going to make Miranda Priestley sing? And that was an
issue because you still even me if I wasn't Miranda
(38:33):
and I was sitting in the audience, I still want
to hear.
Speaker 3 (38:37):
What's what's the famous line? Hello? This one?
Speaker 2 (38:41):
Yep?
Speaker 1 (38:42):
I still want to hear that. I still want to
hear the lines. I still want to hear Cerulian. I
want to hear all that stuff. And you know it's
it was tough. It was tough, and to musicalize it,
and you know it's being done in London now.
Speaker 3 (38:58):
I would love to see it. But a I had
the most amazing clothes.
Speaker 1 (39:05):
Again, to say that because the House of Prada designed
my clothes, So I have never been in clothes that
were so expensive except here. These clothes are great too,
the fabulous. It was really, it was lovely. Does the
(39:26):
movie is? Does it work as a musical? On some levels?
Speaker 3 (39:34):
But it's that great question, It's like should it be
a musical? And like I said, I haven't seen it
in London.
Speaker 1 (39:41):
I know they did a lot of changes, and you know,
I wish it the biggest success ever. But in Chicago
or I did it, they were constantly trying to answer
those basic questions. The audience seem to have a good
time because it's Miranda Priestley and it's fun and we
love this world of dishy fashion bitches and clothes and
(40:04):
all that stuff.
Speaker 2 (40:06):
You've seen our current evolution a Broadway in terms of
jukebox musicals, movie musicals. Now there's a lot of spotlight
on diversity and you know, and gender play and all
of that. What do you think the future of Broadway
looks like?
Speaker 3 (40:21):
I think it's evolving.
Speaker 1 (40:22):
I think it's going to be everything evolves changes.
Speaker 3 (40:27):
You know. I love seeing gender diversity in shows. I love.
Speaker 1 (40:33):
I also love seeing new shows that aren't based on
a movie, but I've done them. I've done shows that
are based on a movie and it's really fun. I've
done Elf, I've done well Mama Mia was a musical
before that I've done I can't even remember. But I
think we're we're expanding, we're growing as human beings, and
(40:56):
the doors are opening better and more available for everyone.
So let's just see what happens, let's all learn from it.
Speaker 2 (41:04):
What kind of role do you think sondheim music plays
in the future of Broadway scene generations?
Speaker 3 (41:11):
Hmm, interesting questions. You know.
Speaker 1 (41:13):
I hope a lot of Sondheim is being done because
there's still people that don't know of his work, like
my uber driver.
Speaker 3 (41:20):
So I give a little tutorial every time.
Speaker 1 (41:22):
It's like, yes, can you let me off at the
stage doors, like what are you doing well? And I
give like a mini lesson on Steven Sonheim and they're like, oh,
maybe I should see it.
Speaker 3 (41:31):
I think maybe you should.
Speaker 1 (41:34):
So you know, like, well, look what happened the last
revival of Company where Bobby was played by a woman.
I'm like, cool, why let's explore these things, see what happens,
See what.
Speaker 3 (41:49):
What elevates the art? What changes it, what makes it interesting,
what works, what doesn't work. That's that's what theater is.
Speaker 2 (41:57):
Beth, What is a role that kind of was a
peak moment for you? Not because you won a Tony,
not because it got the best reviews, but because you
personally worked through obstacles or worked through an experience and
you came out at the other end and it was
a successful experience.
Speaker 1 (42:15):
I would say that Gypsy at the Muni being so
intimidated by the history of the role and the women
that had played the role, and wanting to make it
my own and.
Speaker 3 (42:28):
Still doing justice to this fabulous show.
Speaker 1 (42:30):
So Gypsy Drowsy Chaperone, not because I won the Tony Award,
even though I really did, but creating something that wasn't there,
and my DNA's all over that show, that woman, and
I feel like I really gave birth to her for
(42:52):
the first time in my career.
Speaker 3 (42:54):
That was really satisfying. And did love that girl. Flawed mess.
Speaker 2 (43:04):
We all love a flawed mess.
Speaker 3 (43:05):
I love playing a flawed mess. Perfection Boom.
Speaker 2 (43:11):
Well, it's funny because a majority of Sondheim's characters have
a flaw. You know there's something wrong with him, but
then there's seeing these perfectly orchestrated songs, and it's such
a juxtaposition of what the character is going through. And
we love that, you know, cole mingling.
Speaker 3 (43:27):
It's like, yes, we see ourselves. And I don't see
myself in perfect, perfect people. That's boring. I see myself
in flawed people struggling.
Speaker 1 (43:35):
It's like, oh, I'm going to sing about this now,
so he gives a permission to sing about the flaws.
Speaker 2 (43:41):
What is your favorite moment each night on stage? And
old friends?
Speaker 3 (43:45):
I have many, I have to tell you.
Speaker 1 (43:47):
I just love the relationship I have with the audience
in Lady Sue Lunch, I just love it.
Speaker 2 (43:53):
You had them in the palm of your hand.
Speaker 3 (43:55):
Oh no, I.
Speaker 1 (43:56):
Just feel like there, I feel them. It's really just
such a luxury as an actor. I also love standing
at the end of Act one, in the moment Sunday
in the Park doing with all these voices and the orchestra.
I vibrate in music. It's no other way to say it,
(44:21):
and it's like we're all just kind of one. And
there's also a moment at the end of the show
where there's a new orchestration that you've never heard before.
For being alive, and all sixteen of us are on
stage singing these intricate harmonies, celebrating being alive. I vibrate again.
(44:43):
It's like, Oh, I just feel people's voices and the
harmonies and Stephen sometimes work flowing through us to the audience,
and I feel the autum very close to the audience
in and I can just see people. Last night there
was a couple holding the hands on the front road,
and I'm like.
Speaker 3 (44:59):
Yeah, I know you're feeling.
Speaker 2 (45:02):
It's funny to be their opening night, you know, when
you have celebrities all over the place, and I'm so nosy,
so of course I was like looking and looking and
it was so niceeing these big names responding to what
the actors on stage were doing and how they were moved.
It was such an appreciative night that everything really came together.
Old Friends runs at the Aminson until March ninth. Head
(45:22):
to centertheatergroup dot org to get your tickets. Uh, Beth,
what what's your message to your fans?
Speaker 3 (45:29):
Oh my gosh, Bet, thank you for being my fan.
I love saying that, and I appreciate your love. I
feel it, And.
Speaker 1 (45:39):
Come see the show, and come see the show. Come
celebrate sometime, come celebrate me mossing and some time which
took me a long time.
Speaker 3 (45:47):
And I'm glad I'm here, and I'm glad it's with
this show. Uh.
Speaker 2 (45:51):
It's such an honor to chat with you. So glad
you were in La, So glad I could come see
the show. But really being able to chat with you
makes makes makes my year. Thank you, Thank you. Go
get some rest before the next performance, and I hope
to see the show again, so.
Speaker 3 (46:11):
Let me know when you're here.
Speaker 2 (46:12):
Yeah, thank you, thank you so much. Oh that inspired me.
I'm gonna go have a margini after this. Well that's all, folks.
It's always a grab bago fun here every weekend on
the Rocks. Big thank you to our engineer and station owner,
Tony Sweet. Please like, share, subscribe so we can continue
bringing you this fabulous programming coming your way for free.
(46:34):
Stay happy, stay healthy, stay sexy, and if you drink,
stay tipsy. We'll see you next week. This has been
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on air. Find everything on the Rocks for free on
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until next week. Stay fabulous,
Strawut Media.
Speaker 2 (00:03):
Hello on the Rockers. Curtain up, we are chatting with
Broadway veteran fifteen Broadway shows under her Tony winning belt.
Beth Levo is here to chat career life and some
behind the scenes stories from her current run and Somedheim's
old friends headed to Broadway with me, your sassy host
with the sassy most. Raise a glass that the drinks begin.
We are the ladies who lunch today. It's on the Rocks.
Speaker 1 (00:28):
Thank you.
Speaker 2 (00:30):
Life is a banquet and most poor suckers are starving
to death. I'd like to propose a toast. This is
on the Rocks with Alexander, where I drink with your
favorite celebrities as you talk about fashion, entertainment, pop culture,
reality TV, and well that's about it. So pop a cork,
lean back, and raise a glass to arm the Rocks.
Speaker 3 (00:52):
Pleasing your see it's starting to be.
Speaker 2 (00:54):
Out buttons and bows and panty hose On the Rocks.
Pot has a place where we're too glad to give
it am Follow us on Instagram and TikTok at on
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(01:16):
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(01:38):
Let's get the show on the road. Bethleevil is a
Tony Award winning stage and screen actor who's lasting on
Broadway as the Baroness and Lampeka. For her performance at
the title character in The Drowsey Chaperone, she received Tony
Drama Desk, Outer Critic Circle and LA Drama Critics Awards.
She also received Tony New York Outer Critic Circle and
no other nominations for her roles as d d Allen
(01:59):
Lebron and Florence Greenberg and Baby It's You, and her
list of theater credits are longer than a CBS receipt.
She also starred as Miranda Priestley in the Chicago premiere
of the musical adaptation of The Devil War's product. She
has dazzled and delighted sold out audiences with her cabaret act,
which she has taken from fifty four Below in New
York City to other venues across the US. She's currently
(02:19):
tearing up the stage alongside Brendetta Peters and Leyaslanga for
the Sunheim tribute show Old Friends at the Aminson in
Los Angeles, running for four weeks only. You better get
your tickets immediately. It plays until March ninth. Please welcome
the fabulous behf whoa, that's a mouthful. You've worked girl,
(02:41):
like you have worked me.
Speaker 3 (02:43):
What an intro? Oh my gosh. And just so I
can tell you, it's Beth level.
Speaker 1 (02:48):
Level like on like sea level on level bevel.
Speaker 2 (02:53):
And do you know I knew this and I even
spelled it phonetically here because like in my years of podcasting,
that's that's my hang up is like I read it
and my mind says something else. Oh my lord, I
don't care.
Speaker 3 (03:04):
I don't care.
Speaker 1 (03:05):
Thank you, thank you for that fantastic introduction in those pictures.
Speaker 3 (03:09):
So it's like, oh my gosh, I did all that,
I did all.
Speaker 1 (03:13):
That, and to be back here, you know, I have
such fond memories of Yes, pause, of the drowsy chaperone, Yes,
and coming back here is it's just like coming home.
And thank you Los Angeles audience is for being so.
Speaker 3 (03:28):
So amazing and loving this show so much. You just
lift us up.
Speaker 2 (03:32):
So thank you that applause opening night, and from what
I understand, every subsequent night is just thunderous. And I
see all the shows that come to the amend Sen
I have to tell you that show has unified a
whole audience, old, young, gay, straight totally. You know, everybody
is just enjoying and coming together and celebrating this wonderful
man his material that has kept us going through good
(03:54):
times and bad times.
Speaker 3 (03:56):
Yes, I've seen them all.
Speaker 2 (04:00):
Now, you're a North Carolina girl, What did you learn
on early on in life in North Carolina that you
still subscribe to to this day? Like what you learn
about life early on growing up?
Speaker 1 (04:11):
Lead with kindness Okay, yep, order the fried chicken. You know,
just some good old kind values.
Speaker 3 (04:21):
Not an ounce of theater.
Speaker 1 (04:22):
You know, no one around me did theater in North Carolina,
which to this day I wonder where in the world
did I get this curiosity because it wasn't in North
Carolina until my senior year in high school when a
friend of mine wanted me to audition for the Spring musical.
Speaker 3 (04:37):
And I was like, I really don't even know what
that is.
Speaker 1 (04:38):
She said, it's a really great way to meet guys.
Speaker 2 (04:43):
That is wrong on so many levels and.
Speaker 3 (04:46):
Right on so many best levels, and I just thank you.
Speaker 1 (04:50):
I remember going into it was like a band room
that we had rehearsal, and from the very first day
I was there, was like, who are these people and
where have they been in all of my life? And
how can I be with them for the rest of
my life? And that's what my journey has been, staying
with my people, seeing what kind.
Speaker 2 (05:09):
Of things were you watching them growing up? If you
weren't like into the whole musical theater scene, like what
every once in a.
Speaker 3 (05:14):
While we would go to a movie.
Speaker 1 (05:16):
It's not like, you know, oh my god, I had
to stay in my room and clean, but it just
wasn't a thing for my family. And I do remember
I think I was about thirteen years old and we
went to a movie and I saw The Music Man
and it was one of those moments that I remember
leaving just like at a good theater, leaving my body and
(05:39):
looking at Zanita going like this and transforming into a
cheerleader and you know, a majortte. I went, what is
this magic? What is happening? And it was like a
little spark hit me deeply.
Speaker 2 (05:57):
I have to tell you one of my very first
movie musicals I remember seeing and falling in love with
and grabbing my mom's record out wasn't The Music Man.
And we got to interview Shirley Jones here. But that
movie inspired a lot of people I know.
Speaker 1 (06:11):
Who knews like, you know, people sing and dance as
opposed to talking.
Speaker 3 (06:16):
I want to do that just a little flybar too.
Speaker 1 (06:19):
I had never been to New York and my father
was really big into the Lions Club. Yeah, so anyway,
the International Lions Convention was in New York that year
and I was fifteen, I think, and so went to
New York for the first time. It was terrifying because
it was so huge and so kind of dirty. And
(06:41):
I do remember my mother said to me one morning
in the hotel, you have two choices today for something
to do.
Speaker 3 (06:47):
In New York.
Speaker 1 (06:48):
You can come with me and one of her best friends.
We are going to a show called Mame. It's starring
Angela Lansborg. Or you can go with your dad and
his friend on the subway to a Yankees game.
Speaker 3 (07:03):
Who I went to this on the subway to a
Yankees game? No? What an idiot?
Speaker 1 (07:11):
What would have happened to fifteen year old little Beth
from North Carolina had witnessed and the Lansbury and the
entire Broadway Company of Maine on Broadway.
Speaker 4 (07:23):
Hmm.
Speaker 1 (07:24):
But I don't remember anything about the Yankees game. I
do remember being a little scared on the subway and
yet excited, excited and scared.
Speaker 2 (07:33):
But it's odd that you didn't go see that show.
And also you didn't even go to college originally to
pursue acting. You made up your mind senior year at Meredith,
but you were studying social work.
Speaker 3 (07:45):
I did well.
Speaker 1 (07:45):
They didn't have they didn't have a musical theater a
theater major. So but I did everything once my freshman year.
That's when it began. It was like what can I do?
I did everything I could get my hands on, but
there was no majoryar, So I have a I have
a degree in social work and.
Speaker 3 (08:02):
Counseling, which really has come in quite handy as an
actor listening and responding.
Speaker 2 (08:08):
Yeah, so yeah.
Speaker 1 (08:09):
And then you know, at the end of my senior year, Meredith,
my I had a fantastic teacher, Linda Bamford, and she said,
I think you probably should consider going to New York
and I win you your mind, so I decided to
just go to school again. So I have I have
a master's degree, a Master of Fine Arts in Acting
(08:30):
and Directing from the University of North Carolina at Greensborough,
which two years ago they gave me an honorary doctor degree,
so you may call me doctor level.
Speaker 2 (08:38):
Well yes, uh, and you were named also merediths College uh,
Woman of Achievement as well. And what an honor Because
I read the rest of the list of their you know,
Ruth is there and it's like, what a circle of
life for you to be Like, yep, that's where I
came from. And look look at me now.
Speaker 1 (08:59):
Good, Yes, that's a very lovely way to put it.
Speaker 3 (09:04):
Thank you?
Speaker 2 (09:05):
What was like the biggest shock in moving to New
York City?
Speaker 3 (09:09):
Besides moving to New York City.
Speaker 1 (09:12):
I lived on a fifth floor walk up, slept on
a couch, could care less. It was like the best
thing ever. Because I was in New York City. I
had gotten my equity card, you know the union we
have to be in to be an actor. Doing a
season at Pennsylvania Stage Company. And I remember being on
the bus with my little equity card thinking I'm an actor.
(09:34):
So I would get up, you know back in the
dark ages every Thursday, the copy of Backstage magazine. I
can remembertage a Backstage reports online and all that. I
would go down to Smiler's, which is like a deli
chain in New York City, and I would get the
hard copy of Backstage. And I decided, because because I
(09:56):
was an actor, I needed to start drinking coffee.
Speaker 3 (09:59):
So I would get my cup of coffee.
Speaker 1 (10:00):
Put sweet and blows in it, go and sit on
a bench, take that backstage and start circling everything that I.
Speaker 3 (10:07):
Could audition for that week.
Speaker 1 (10:09):
I auditioned for a mime company that went well, for
a puppet company that went well too, But I was
so joyous being there and pursuing what I was supposed
to be doing, not having any idea what was in
the future for me.
Speaker 2 (10:29):
Did you do you have any early audition horror stories?
Speaker 4 (10:33):
Most of them, thank you, No the ones people assume,
and people assume that I'm like a skilled technical.
Speaker 3 (10:45):
Dancer because I've done forty second Street and crazy to you.
I have minimal skills.
Speaker 1 (10:49):
I just fake it really, really well, and I know
tap enough to get me in trouble.
Speaker 3 (10:54):
And I went to audition for some new regional.
Speaker 1 (11:00):
Musical and I got through the singing call and everything,
and they said, can you come back for the dance call?
Speaker 3 (11:05):
And it was like, oh no. So the dance call
was like three hours later.
Speaker 1 (11:12):
So I go to the studio and I'm still in
my white cream pants suit, my audition uniform. And I
get there and it looks like the cast of a
chorus line.
Speaker 3 (11:20):
You know.
Speaker 1 (11:20):
It was the eighties, so there was leg warmers and
headbands and jazz hands.
Speaker 2 (11:25):
And that was just the guys, and that was the yeah.
Speaker 1 (11:29):
And I walk in the choreographer goes, oh, Beth, why
don't you just go ahead and change into your dance clothes?
Speaker 3 (11:34):
And I was like, these are my dance.
Speaker 1 (11:37):
Cloths and then he starts twirling this and it was
way past my pay grade.
Speaker 3 (11:47):
And I tried the best I could and.
Speaker 1 (11:52):
I got the part because I was so funny trying
to act like a dancer.
Speaker 3 (11:58):
So that's not a horror story.
Speaker 2 (12:00):
But that's how you make like a negative experience and
you make it a positive and personality selves exactly.
Speaker 3 (12:07):
Course the show never made it to New York.
Speaker 2 (12:09):
But like that dancer in the back.
Speaker 3 (12:11):
That's there you go.
Speaker 1 (12:12):
But that was interesting. I've yeah, I've I've done a
show where I brought it. You know, you learn, particularly
you know when you're first starting, you learn what works
for you in an audition room.
Speaker 3 (12:24):
If they don't know who you are, what are you
going to sing?
Speaker 1 (12:26):
And I remember bringing to an audition because I had
just done a Jason.
Speaker 3 (12:31):
Robert Brown song. Now you better pray that you're a companess.
Speaker 1 (12:38):
Is skilled enough to do a complicated sondhime or a
Jason Robert Brown song. And it was so bad, and
I felt so bad for the person playing the piano
because we had we just had to stop and I
apologized and then I sang.
Speaker 3 (12:53):
I got rhythm.
Speaker 2 (12:57):
And Beth is it true? One of your big first
was understudying Lucy Arnetz.
Speaker 3 (13:03):
That was that was I think one of my first
equity jobs.
Speaker 1 (13:07):
She and her husband Larry were doing I Do, I
Do a little mini tour and.
Speaker 3 (13:13):
I understudied Lucy. I never went on, but it was.
Speaker 2 (13:16):
Fun experience as a young as a young actor and
brushing elbows with Hollywood.
Speaker 3 (13:22):
Yeah, and she's terrific. She's just terrific.
Speaker 2 (13:28):
You have original. It's because I'm a big fan. I'm
a big fan. I just can't pronounce your last name,
but I'm a big fan. What role was it that
you did that you felt like it clicked? You're like, Okay,
I'm an actor. Now i can breathe a little bit
and I've kind of made it.
Speaker 3 (13:47):
Wow, that's that's interesting.
Speaker 1 (13:48):
A little part like originating a role in Crazy for you,
it was like, oh, that was my first original Broadway
show that felt like, oh, I can do this.
Speaker 3 (13:59):
But it really wasn't until.
Speaker 1 (14:03):
Drowsy Chaperone that I felt oh, essentially the role kind
of was written for me and was written for my
comedy and my voice, and that's when I felt ownership
to this crazy world. And then I won, you know,
a Tony Award and that changed my life.
Speaker 2 (14:24):
Where were you when you found out that you had
the nomination? Were you like watching?
Speaker 3 (14:29):
No, I couldn't do that. I tried to sleep and
you know, drowsy.
Speaker 1 (14:34):
That year was the last show to open before the
Tony cut off, So we were doing all this opening
night and.
Speaker 3 (14:41):
Oh, hey, there she is, there she is brass and
all this kind of stuff. And so literally my husband
at the time, I said, just.
Speaker 1 (14:49):
You know, when they're announced it, come wake me up
and just tell me yes or no, that's okay, We'll
just go.
Speaker 3 (14:53):
On with our day.
Speaker 1 (14:54):
And my husband, my first husband, John, came in and
he was crying.
Speaker 3 (14:59):
You were nominated and it was Danny nominee. He said yes, and.
Speaker 1 (15:02):
So I just I burst into very joyous tears. And
then the phone starts ringing, and then then you do
all the beautiful things that are in circle being a
Tony Award nominee.
Speaker 2 (15:15):
And how did winning the Tony How did that kind
of change your view of your career, what you wanted
to do next.
Speaker 1 (15:21):
Once you have that that moniker of Tony Award winner,
it just makes some doors a little easier to open.
It kind of lifts your status in the world because
you're a Tony Award winner. But then again, you're a
Tony Award winners, like, what are you going to do next?
Did you really earn that Tony Award? And so then
(15:43):
I don't even remember the next thing I did. But
it just it makes it makes getting work.
Speaker 3 (15:49):
A little easier. I hope that continues.
Speaker 2 (15:55):
Well, you haven't stopped, Like literally when you look at
your kinds like which she only had a month in between,
like it's been going on and on and on.
Speaker 3 (16:03):
It was fresh.
Speaker 2 (16:08):
I got this question from from a theater actor, and
number one, I have to say, when people knew you
were coming on the show, I got messages from tons
of people from entertainment and fans. Everybody that's worked with
you loves you. I couldn't find any dirt and I
tried real hard. I'm kidding, but all of these positive
messages that I get that you are such a joy
to work with and you have such a positive person
(16:31):
and you know your fans love you. But I got
this from an actor. You've originated unated, you've originated roles,
you've done classic roles. What is your creative process when
you first get cast? And is it different whether you're
doing a role that we all know and love or
whether it's original, Like what is your actor process?
Speaker 3 (16:49):
Well, I can spend all day talking about this. It's
not easier. That's not the right word. It's when you
originate a role.
Speaker 1 (16:58):
It never relies on someone else's history.
Speaker 3 (17:02):
It's all your DNA.
Speaker 1 (17:03):
So like Drowsy and prom when it's written for you
and you're in a room with the creatives who know
you and are smart and start molding the role around
what works best for you and the show, But it's
all Beth Level's energy and Beth levels DNA. Unlike if
I've done Mama Rose three times and I like to
bring my own stuff.
Speaker 3 (17:24):
To it, but it's not broken, right.
Speaker 1 (17:27):
I don't want to reinvent something that's you know, I
think is one of like the King Lear of acting
roles for women or men, but for let's just say
for me. So But I always start by the same thing,
being in a room, being available, being professional, listening and responding,
and directors tell me that usually I walk into a
(17:49):
room and I throw everything I have up against the
wall and we all see what sticks and what works
best for the for the show, and take from there,
so it was one of them I really appreciate.
Speaker 3 (18:03):
Sorry interrupted.
Speaker 1 (18:04):
One of the things I really appreciate about this show
is that they they didn't want me to imitate anyone else.
When I do I get the privilege of singing ladies
who lunch. It was like, you know, you just you
just do you. And to be able to do that
and my own spin on it and this audience, it's
it's it's one of the highlights of my career doing
(18:26):
it here because of how much fun and the connection
I have between the audience sometimes music, and me singing it.
Speaker 3 (18:36):
It's really it's really joyous.
Speaker 2 (18:39):
So let's talk about well, let's talk about ladies who lunch.
You know, you see in the program you're like, oh,
Beth is doing that. It was great. You come out,
there's no you know, there's no cocktail glass in your hand.
I was like, oh, okay, I know that's a little difference.
Speaker 1 (18:53):
As for that, I said, can I not hold a
cocktail glass? And they were like, oh, go ahead, you
do what you want to do.
Speaker 2 (18:59):
And and it's hard for theater lovers, Sondheim fans, you know,
you hear those first few chords, it's hard not to
hear Elaine Stritch's echoes and Patti Lapone's echoes. But I
have to tell you, the minute you took to that stage,
it was a different energy. It was a different interpretation,
and it wasn't a different interpretation, just to be a
different interpretation. And you've talked before, You're like, you know,
(19:21):
I'm not a singer, I'm not an actor. I'm a storyteller.
So in Ladies Who Lunch, where did you start? And
what story are you telling? Because what you saw the audience,
I mean, come on, but it's magical. It's like re
experiencing this song all over again.
Speaker 3 (19:38):
Thank you. It's like this woman. I think she's come
from lunch.
Speaker 1 (19:43):
She's probably had a couple of cocktails, and I think
is reflecting on her life and sharing it and the
good and the bad. And as much as she dishes
about the Ladies who Lunch, she is the.
Speaker 3 (19:54):
Ladies who lund God damn it. And I think it's
that's kind of the arc of it. And then I
like to play with the audience.
Speaker 1 (20:03):
And share my story like they're all at lunch with
me and I've been you know, it works, and I've
been given permission to do that by the creative team,
and every night's a little different depending on the audience
and our relationship. And it's really it's really fun.
Speaker 2 (20:24):
Now you are a leading lady a Broadway. We know
your consummate experience and your long resume. Do you ever
and you've you've performed with everybody, do you ever get
what I would call starstruck?
Speaker 1 (20:40):
Yes, i'ming on stage with Bernaette Peters and lay us along,
you know, but we're all, you know, we're all kind
of functioning as an ensemble.
Speaker 2 (20:51):
It is such an ensemble piece. There's not one week
actor on that stage, which we know is really difficult
to do, especially when you're doing music of this caliber.
That's what everybody comment was saying during the intermission. It's
like everybody has a right to be there, and everybody
could lead that show. That cast is so damn talented.
Speaker 1 (21:08):
That's one of the reasons I was so attracted to
doing this because we were such an ensemble and this.
Speaker 3 (21:13):
Cast is ridiculously talented.
Speaker 1 (21:18):
So yeah, but I do get a little starstruck, But
you got to do the work, so you kind of
have to get over it and like get over it.
What I also, oh my god, I'm working for blah
blah blah blah blah.
Speaker 2 (21:29):
What I also loved was seeing actors have so much
grace towards the other actors, letting somebody else have the
spotlight for that song or having their moment. It was
just so respectful and then it came together so beautifully.
But what's it like to rehearse a show with Bernadette Peters?
I mean, what was the rehearsal process for this show?
Because the show starts and it does not stop.
Speaker 3 (21:50):
It does not stop.
Speaker 1 (21:51):
It was interesting at this show because half of our
cast had done the show in London, right Bernadette and
Leah so in New York cast got there a week
early and we're like, here's.
Speaker 3 (22:04):
Choreography, Suwon, here's here's your.
Speaker 1 (22:07):
Second alto parts Beth in Sondheim, and was like, oh,
there was a lot of homework, a lot of a
lot of trying to catch up, and then when the
fabulous Brits got here we put it all together.
Speaker 3 (22:19):
It was it was intense. It was really intense.
Speaker 1 (22:23):
And then you get here in the set and the
lights and the quick changes. You should see what happens
backstage lot.
Speaker 3 (22:30):
It looks so smooth.
Speaker 1 (22:31):
When we come on, but it's it's excitingly it's bedlum
back there sometimes. And so Bernadette's consummate professional. She would
always come in wearing her show shoe heels, and here
I am and my crappy sneakers. I'm like, Beth, get
your show shoes on, Bernard, and I can do it.
(22:53):
Can you please get your show shoes on? So she
inspired me to be a better professional. And the kind
it's just you know, they're lovely, just lovely.
Speaker 2 (23:06):
Now having the opportunity to storytell so many different composers work,
how does working on Sondheim's material, How is that different
than the other material that you work on.
Speaker 3 (23:19):
Yeah, well, just like.
Speaker 1 (23:21):
You were saying, when I see Ladies improving, you have
a history of it in your head.
Speaker 3 (23:28):
So approaching his work trying to see it for the
first time.
Speaker 1 (23:37):
As an ensemble and with some new orchestrations and new
tones and new storytelling about it, but still being truthful
to the brilliance of the work. Is I think done
really successfully here, but sometimes hard. It's complex and difficult
(23:59):
and fascinating, and because of that, it's so satisfying. Once
you get these zillion lyrics in your head and in
your muscles. To really live in that life of his
work is unlike anything I've experienced. It's a privilege to
(24:22):
sing his stuff, and I one of my biggest things
is I wanted to make sure that I did it
so if he was in the theater, he would go,
good job, good job.
Speaker 2 (24:38):
I hope you on a percent. And that orchestra is beautiful, and.
Speaker 3 (24:43):
They're right there with us. They're another cast member up there.
Speaker 2 (24:48):
Now. The show is and I'm not giving anything away,
but the show ends on a very emotional you know,
note pardon the pun, but it's very bittersweet to enjoy
an of Sondheim with some of Sonheim's leading ladies. It's
bittersweet because it is also very sad. It's like that,
you know, theater will live on, but that man is gone.
(25:12):
I know, especially now that we're in so much tourmoil,
we don't know what the hell is going on.
Speaker 1 (25:17):
So I remember when we got here, the Americans had
never seen there's a slight video montage celebrating Stephen, and
we had never seen it. And we're on stage in tech,
you know, and our sneakers and stuff, and we're all
on stage looking at these photos and Bernadette is crying
(25:45):
and I remember just holding her hand, thinking, Wow, what
she must be feeling watching this, and how much their
relationship meant to her personally and a career.
Speaker 3 (26:02):
It was so moving, So.
Speaker 1 (26:06):
Being in that moment every night on stage, with all
of us on stage celebrating him.
Speaker 3 (26:13):
I've never done anything like that before. It's kind of.
Speaker 2 (26:17):
Magical the word I was just going to say. It
was magical. And for those of us sitting in the audience,
you could hear a pin drop and that audience was
over full.
Speaker 1 (26:25):
And I turned around too, and you know, once we
see an audience is like you know, and I.
Speaker 3 (26:30):
Said, I feel you.
Speaker 1 (26:31):
You know, what this man has added to our existence.
Speaker 3 (26:37):
Is priceless.
Speaker 2 (26:39):
And it's funny that it's called old friends, you know,
like I was saying it, we don't know what the
hell is going on in the world right now, and
it's so comforting to come back to material that we
know and love. We know these lyrics backwards and forwards,
and you know, it's it's modern day Shakespeare. There's no
reason we should know all of these lyrics like you
know that quickly there's a lot but yeah, yeah, that's what.
Speaker 3 (27:00):
I love too. About the show.
Speaker 1 (27:02):
You know, we start another celebration of a show and
you can hear the audience.
Speaker 2 (27:06):
Go yees yea, yeah.
Speaker 3 (27:12):
Sweeney. It's very exciting. We also have the luxury here
at the Aminson Is.
Speaker 1 (27:17):
It's really large backstage, which we're going to really miss
when we go to Broadways.
Speaker 3 (27:27):
So I find myself sitting in the wings.
Speaker 1 (27:29):
There's actually chairs and you can sit and I just
listen to Westside's story and it is so thrilling.
Speaker 3 (27:38):
So I can imagine what it must be like to
sit in the audience.
Speaker 2 (27:41):
Oh, as an actor, you're having to go from scene
to scene, character to character. You're not just playing one character.
You're not just celebrating one show. What is your warm
up like? Because you you have to be able to
turn on a dime. It's comedy one minute, it's drama
dy then it's pure drama. As an act, like, how
do you keep all of that together? What is your
(28:03):
warm up process?
Speaker 3 (28:05):
It depends on the show this one.
Speaker 1 (28:07):
You know, I do a vocal warm up in my
dressing room, but then the first number is from something
from and that kind of physically warms you up.
Speaker 3 (28:15):
It's so easy to go with his music and lyrics.
Speaker 1 (28:21):
It's easy to click into the next moment just by listening.
And it's so easy. I sit in the wings and
watch the end of Sweeney Todd and I kind of
watch it as Beth level getting managed to do Ladies
who Lunch. So by the time I'm on stage, it's
like I'm already like did they just kill some you know,
It's like.
Speaker 3 (28:40):
I'm already there. It's easy to do.
Speaker 1 (28:45):
I do a Gavin Lee and I have a duet
of It's the little things you do together, and you
hear that music, and he and I have like kind
of an improv we do as we're setting up the chairs,
and by the time you sit down, it's like, oh.
Speaker 3 (28:58):
We're already there. Okay.
Speaker 1 (29:01):
His work makes that very easy and available and accessible
to an actor.
Speaker 3 (29:05):
You just have to listen.
Speaker 2 (29:08):
Now, how do you wind down after the show?
Speaker 1 (29:13):
Well, in Los Angeles, I go back to my hotel
room and have a snack and a glass of wine.
Speaker 2 (29:22):
You have played so many strong women in your career.
What role has spoken to you the most? And maybe
it was just that at that point in time, kind.
Speaker 1 (29:33):
Of all of them in some way, shape or form,
whether it's something about the role or whether it was
something about doing that role in this particular part time
in my life. I did Mom a Rose, and I
was terrified to do it at a theater called the Muni,
which is that huge theater in Saint Louis that seats
eleven thousand people, and I was really terrified that it
(29:56):
was just gonna be too much.
Speaker 3 (29:58):
And man, I it.
Speaker 1 (30:02):
Was one of the I felt so good about my
relationship with Rose.
Speaker 3 (30:09):
That it kind of changed my life a little bit.
Speaker 1 (30:11):
I don't really know how to explain that any better,
but it was so satisfying and I lost Beth in
there some place.
Speaker 3 (30:19):
I'm also felt the same way about d d Allen
in the prompt.
Speaker 1 (30:22):
I had such ownership to her. I was so proud
of her.
Speaker 3 (30:28):
And the journey, the arc her life.
Speaker 1 (30:33):
How in this one glorious musical, you could see this character,
this woman changing in front of your very eyes with
the magic of show tunes and comedy. And then I,
like I did Florence Greenberg and Baby at Ju and
it was the first time that my picture was above
(30:55):
like in front of the theater. The show didn't last
very long and it had definitely has some issues, but
it was the first time i'd ever ever had to
really drive a train by myself and be responsible for
the tone of the company. So that changed my life.
Sometimes you do a show and it changes your life
because you meet someone, yeah, and you learn something. Sometimes
(31:20):
you learn something because the show is really not successful
and you learn something.
Speaker 3 (31:26):
Sometimes you learn something because.
Speaker 1 (31:27):
You get bad reviews, which I don't read reviews, but
good or bad. But I just feel like I'm a
kind of a perpetual student in my work that I
have to stop if I feel like I can't learn
anything else or grow.
Speaker 2 (31:44):
That was fresh too, That's such a good way to
put it, because but we have seen you role after role.
It is it's like there's you see this arc in
your you know, in your personal life, through all of
these stories. In every role you congress like, wow, she
did that that was so different than the other role,
than the other role, than the other role.
Speaker 3 (32:04):
And that's writing too.
Speaker 1 (32:06):
You know, I can only bring Beth into something that's
that that helps me with songs or or you know,
the story in the book. And again that's not an
issue here with mister Sometimes work.
Speaker 2 (32:21):
Now, as an actor, how do you work through a
situation where you know the show is just not quite
what it should be, and you have to go on
stage night after night.
Speaker 3 (32:30):
You just you have to do it.
Speaker 1 (32:31):
I believe that everything I'm in and this is probably
very Pollyanna and naive of me, but I believe every
show is fantastic.
Speaker 3 (32:40):
It has to be. I just closed Lempika, and even though.
Speaker 1 (32:45):
It didn't run very long and the reviews were pretty terrible, boy,
our audiences went crazy for it and it changed some lives,
and I get I still get people talking about that show.
So I just think storytelling in theater changes lives, even
if we.
Speaker 3 (33:03):
Don't know they're changing it.
Speaker 1 (33:06):
And it's my responsibility to do the best I can
with every performance. Yeah, it's easier when you don't look
out there and it's like, oh gosh, well no, there's
no one in the balcony tonight. Okay, wonder what's next
that you.
Speaker 3 (33:23):
Know, show business book. But that's just the reality.
Speaker 2 (33:30):
We are now starting to talk about mental health a
lot in the entertainment industry, and it's about time, going
from role to role, raising two kids, having to put
yourself and exhaust yourself emotionally and physically on stage every night.
How how have you maintained your mental health. How has
that journey been for you of show after show? Right?
Speaker 3 (33:51):
You know, the work doesn't exhaust me. It gives me.
It energizes me.
Speaker 1 (34:00):
And to find the balance between my work and my
personal life, my marriage, my kids, my pets is equally
as important.
Speaker 3 (34:14):
And some years it's really easy. Some years it's tough.
Some years.
Speaker 1 (34:18):
I remember, right before Drowsy happened, I think I may
need to maybe work at Macy's, you know, because I
was the breadwinner for so long.
Speaker 3 (34:29):
And then Drowsy Chaperone happened.
Speaker 1 (34:31):
I tell you know, I teach occasionally, which I just love,
and I tell my students the good news and bad
news about being the actor is the bad news it's
that you just never know what the next day is
going to bring. The good news is you just never
know what the next day is going to bring. Because
I was thinking about, Oh, I should work at Macy's
or teach, and I got a phone call pretty much
(34:52):
that afternoon from my agent, going, you have a job
offer for and I was like, oh, I'll take it
whatever it is. Man for the Drowsy Chaperon, which initially
I didn't get that part.
Speaker 2 (35:03):
Did you know that I did not know that.
Speaker 1 (35:05):
Yeah, I didn't get it. I'm not sure they knew
the character I played, Beeter Stockwell, the drowsy chaperon wasn't
really on the page. Mean, it's not like, oh, a
woman entered. They were trying to find out who she was.
So I got a call back and I went and then,
which doesn't hardly ever happen, the director called me Casey.
(35:28):
He said, thank you so much. We're just we need
to go in a different direction with this character. And
I went, I totally, I totally agree. Maybe you need
someone older. I mean, this was a while ago. So
they flew out to LA to audition some TV divas.
Speaker 3 (35:44):
And I don't know what happened. No one got the job.
Speaker 1 (35:47):
They came back to New York auditioned, and I think
out of desperation, Casey went, just give it to Beth.
Let's see what she does with it. And that was
that phone call. And literally my agent said, you need
to pack your bags. You're leaving for Los Angelas for
a eight week out of town tryout in three weeks.
Speaker 3 (36:05):
Okay, oh, oh children, mamas, And that was that.
Speaker 2 (36:14):
Now, having taught students and seeing, you know, the fresh
faces that come into the theater. What do you think
the biggest challenges are for uh, a new actor on Broadway.
Speaker 3 (36:27):
Yeah, I think from hearing the energy.
Speaker 1 (36:30):
You know, I'm really grateful that I wasn't trying to
get a career with all the social media stuff.
Speaker 3 (36:40):
That's just kind of out of my wheelhouse.
Speaker 2 (36:42):
You have five posts on your Instagram? I have what
you have five posts on your Instagram.
Speaker 3 (36:48):
It's just intimidating me.
Speaker 1 (36:51):
So, I mean, having to deal with that and followers
and all that stuff. I just always tell my kids
to thine own self be true. And then it's technical
stuff like if you're going in and you want to
be in a musical, you really have to show the
people behind the table who you are as an artist
(37:14):
or who you are becoming as an artist, which means
finding a great song that's truthfully storytelling with the great song.
Speaker 3 (37:20):
You know. It's just it's it's.
Speaker 1 (37:23):
A it's a hard business, but I wouldn't change it
for anything and just be available to grow and to
learn and to listen.
Speaker 3 (37:34):
Yeah, it's it's it's tough. And hopefully if you move to.
Speaker 1 (37:39):
New York or LA you can you know, you can
have a life in the theater. Anywhere, but just you know,
have some money in the bank so you don't have
to starve.
Speaker 2 (37:48):
Easier said than done.
Speaker 3 (37:51):
Know you'm starved, all right.
Speaker 2 (37:55):
Well, spill the tea. We of course all the gays
want to know about putting together other Miranda Priestley singing
Elton John music, because you have a character that has
become iconic that we know from the film but has
never been done on stage, and so you had to
play with both of that.
Speaker 1 (38:11):
It was fascinating and I think it was such a
challenge because the movie is so beloved. How were you
going to make Miranda Priestley sing? And that was an
issue because you still even me if I wasn't Miranda
(38:33):
and I was sitting in the audience, I still want
to hear.
Speaker 3 (38:37):
What's what's the famous line? Hello? This one?
Speaker 2 (38:41):
Yep?
Speaker 1 (38:42):
I still want to hear that. I still want to
hear the lines. I still want to hear Cerulian. I
want to hear all that stuff. And you know it's
it was tough. It was tough, and to musicalize it,
and you know it's being done in London now.
Speaker 3 (38:58):
I would love to see it. But a I had
the most amazing clothes.
Speaker 1 (39:05):
Again, to say that because the House of Prada designed
my clothes, So I have never been in clothes that
were so expensive except here. These clothes are great too,
the fabulous. It was really, it was lovely. Does the
(39:26):
movie is? Does it work as a musical? On some levels?
Speaker 3 (39:34):
But it's that great question, It's like should it be
a musical? And like I said, I haven't seen it
in London.
Speaker 1 (39:41):
I know they did a lot of changes, and you know,
I wish it the biggest success ever. But in Chicago
or I did it, they were constantly trying to answer
those basic questions. The audience seem to have a good
time because it's Miranda Priestley and it's fun and we
love this world of dishy fashion bitches and clothes and
(40:04):
all that stuff.
Speaker 2 (40:06):
You've seen our current evolution a Broadway in terms of
jukebox musicals, movie musicals. Now there's a lot of spotlight
on diversity and you know, and gender play and all
of that. What do you think the future of Broadway
looks like?
Speaker 3 (40:21):
I think it's evolving.
Speaker 1 (40:22):
I think it's going to be everything evolves changes.
Speaker 3 (40:27):
You know. I love seeing gender diversity in shows. I love.
Speaker 1 (40:33):
I also love seeing new shows that aren't based on
a movie, but I've done them. I've done shows that
are based on a movie and it's really fun. I've
done Elf, I've done well Mama Mia was a musical
before that I've done I can't even remember. But I
think we're we're expanding, we're growing as human beings, and
(40:56):
the doors are opening better and more available for everyone.
So let's just see what happens, let's all learn from it.
Speaker 2 (41:04):
What kind of role do you think sondheim music plays
in the future of Broadway scene generations?
Speaker 3 (41:11):
Hmm, interesting questions. You know.
Speaker 1 (41:13):
I hope a lot of Sondheim is being done because
there's still people that don't know of his work, like
my uber driver.
Speaker 3 (41:20):
So I give a little tutorial every time.
Speaker 1 (41:22):
It's like, yes, can you let me off at the
stage doors, like what are you doing well? And I
give like a mini lesson on Steven Sonheim and they're like, oh,
maybe I should see it.
Speaker 3 (41:31):
I think maybe you should.
Speaker 1 (41:34):
So you know, like, well, look what happened the last
revival of Company where Bobby was played by a woman.
I'm like, cool, why let's explore these things, see what happens,
See what.
Speaker 3 (41:49):
What elevates the art? What changes it, what makes it interesting,
what works, what doesn't work. That's that's what theater is.
Speaker 2 (41:57):
Beth, What is a role that kind of was a
peak moment for you? Not because you won a Tony,
not because it got the best reviews, but because you
personally worked through obstacles or worked through an experience and
you came out at the other end and it was
a successful experience.
Speaker 1 (42:15):
I would say that Gypsy at the Muni being so
intimidated by the history of the role and the women
that had played the role, and wanting to make it
my own and.
Speaker 3 (42:28):
Still doing justice to this fabulous show.
Speaker 1 (42:30):
So Gypsy Drowsy Chaperone, not because I won the Tony Award,
even though I really did, but creating something that wasn't there,
and my DNA's all over that show, that woman, and
I feel like I really gave birth to her for
(42:52):
the first time in my career.
Speaker 3 (42:54):
That was really satisfying. And did love that girl. Flawed mess.
Speaker 2 (43:04):
We all love a flawed mess.
Speaker 3 (43:05):
I love playing a flawed mess. Perfection Boom.
Speaker 2 (43:11):
Well, it's funny because a majority of Sondheim's characters have
a flaw. You know there's something wrong with him, but
then there's seeing these perfectly orchestrated songs, and it's such
a juxtaposition of what the character is going through. And
we love that, you know, cole mingling.
Speaker 3 (43:27):
It's like, yes, we see ourselves. And I don't see
myself in perfect, perfect people. That's boring. I see myself
in flawed people struggling.
Speaker 1 (43:35):
It's like, oh, I'm going to sing about this now,
so he gives a permission to sing about the flaws.
Speaker 2 (43:41):
What is your favorite moment each night on stage? And
old friends?
Speaker 3 (43:45):
I have many, I have to tell you.
Speaker 1 (43:47):
I just love the relationship I have with the audience
in Lady Sue Lunch, I just love it.
Speaker 2 (43:53):
You had them in the palm of your hand.
Speaker 3 (43:55):
Oh no, I.
Speaker 1 (43:56):
Just feel like there, I feel them. It's really just
such a luxury as an actor. I also love standing
at the end of Act one, in the moment Sunday
in the Park doing with all these voices and the orchestra.
I vibrate in music. It's no other way to say it,
(44:21):
and it's like we're all just kind of one. And
there's also a moment at the end of the show
where there's a new orchestration that you've never heard before.
For being alive, and all sixteen of us are on
stage singing these intricate harmonies, celebrating being alive. I vibrate again.
(44:43):
It's like, Oh, I just feel people's voices and the
harmonies and Stephen sometimes work flowing through us to the audience,
and I feel the autum very close to the audience
in and I can just see people. Last night there
was a couple holding the hands on the front road,
and I'm like.
Speaker 3 (44:59):
Yeah, I know you're feeling.
Speaker 2 (45:02):
It's funny to be their opening night, you know, when
you have celebrities all over the place, and I'm so nosy,
so of course I was like looking and looking and
it was so niceeing these big names responding to what
the actors on stage were doing and how they were moved.
It was such an appreciative night that everything really came together.
Old Friends runs at the Aminson until March ninth. Head
(45:22):
to centertheatergroup dot org to get your tickets. Uh, Beth,
what what's your message to your fans?
Speaker 3 (45:29):
Oh my gosh, Bet, thank you for being my fan.
I love saying that, and I appreciate your love. I
feel it, And.
Speaker 1 (45:39):
Come see the show, and come see the show. Come
celebrate sometime, come celebrate me mossing and some time which
took me a long time.
Speaker 3 (45:47):
And I'm glad I'm here, and I'm glad it's with
this show. Uh.
Speaker 2 (45:51):
It's such an honor to chat with you. So glad
you were in La, So glad I could come see
the show. But really being able to chat with you
makes makes makes my year. Thank you, Thank you. Go
get some rest before the next performance, and I hope
to see the show again, so.
Speaker 3 (46:11):
Let me know when you're here.
Speaker 2 (46:12):
Yeah, thank you, thank you so much. Oh that inspired me.
I'm gonna go have a margini after this. Well that's all, folks.
It's always a grab bago fun here every weekend on
the Rocks. Big thank you to our engineer and station owner,
Tony Sweet. Please like, share, subscribe so we can continue
bringing you this fabulous programming coming your way for free.
(46:34):
Stay happy, stay healthy, stay sexy, and if you drink,
stay tipsy. We'll see you next week. This has been
another episode of On the Rocks. Tweet me and slide
into my dms on Twitter and Instagram. On the Rocks
on air. Find everything on the Rocks for free on
the Rocks Radio Show dot com subscribe, review and share
until next week. Stay fabulous,
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