1 00:00:00,680 --> 00:00:04,520 Speaker 1: Hey, it's Alec Baldwin here. Before we launch our next 2 00:00:04,600 --> 00:00:08,760 Speaker 1: season of Here's the Thing at iHeartRadio in January, I 3 00:00:08,800 --> 00:00:12,320 Speaker 1: thought I'd play some of my favorite shows from the archives. 4 00:00:12,840 --> 00:00:16,760 Speaker 1: Audra McDonald occupies a unique place in the American theater. 5 00:00:17,360 --> 00:00:20,160 Speaker 1: With six Tony Awards, she has the most of any 6 00:00:20,200 --> 00:00:23,279 Speaker 1: actress in history. She is renowned for her work in 7 00:00:23,360 --> 00:00:26,720 Speaker 1: opera as well as in films and on television. Here 8 00:00:26,760 --> 00:01:01,080 Speaker 1: is My conversation with Audra mcdonaldves. 9 00:00:46,360 --> 00:00:52,040 Speaker 2: Hoatch money. 10 00:00:57,240 --> 00:01:01,760 Speaker 1: Much like the staggering beauty of her singing, Audra McDonald 11 00:01:01,960 --> 00:01:06,319 Speaker 1: is impossible to ignore. The only person to sweep all 12 00:01:06,400 --> 00:01:09,560 Speaker 1: four acting categories at the Tonys, she's one of the 13 00:01:09,560 --> 00:01:14,720 Speaker 1: most decorated Broadway stars of all time. Reviews of her 14 00:01:14,800 --> 00:01:21,600 Speaker 1: award winning performances overflow with accolades. She's spellbinding, radiant, and 15 00:01:21,680 --> 00:01:26,399 Speaker 1: wrenchingly human. This year, the Juilliard graduate took on her 16 00:01:26,480 --> 00:01:31,319 Speaker 1: first voice over role, playing Madame Gardrobe in Disney's Beauty 17 00:01:31,360 --> 00:01:34,720 Speaker 1: and the Beast. The performance was so great one critic 18 00:01:34,760 --> 00:01:38,280 Speaker 1: wrote that her name and the credits prompted theatergoers to 19 00:01:38,520 --> 00:01:42,440 Speaker 1: erupt in cheers. I sat down with Audre before her 20 00:01:42,520 --> 00:01:46,200 Speaker 1: debut this summer in London's West End, where she takes 21 00:01:46,240 --> 00:01:50,000 Speaker 1: on Billy Holliday, whose life as a black female performer 22 00:01:50,320 --> 00:01:51,320 Speaker 1: hits close to home. 23 00:01:51,920 --> 00:01:56,240 Speaker 2: Specifically for me, I would say that there was an 24 00:01:56,280 --> 00:02:00,560 Speaker 2: expectation on my part that things would get easier as 25 00:02:00,640 --> 00:02:03,560 Speaker 2: a result of being successful. You know, well, what do 26 00:02:03,640 --> 00:02:07,600 Speaker 2: you mean they're going to make more money than I am? 27 00:02:07,680 --> 00:02:10,120 Speaker 2: And yeah, we're doing the same thing, we're playing. We're 28 00:02:10,120 --> 00:02:12,519 Speaker 2: basically equal as far as the roles are concerned. 29 00:02:13,080 --> 00:02:16,160 Speaker 1: Or what did you do to address that? If anything? 30 00:02:16,680 --> 00:02:19,000 Speaker 2: I didn't. For I didn't do anything for a while 31 00:02:19,520 --> 00:02:21,680 Speaker 2: I should have, and I didn't. I just went along. 32 00:02:21,720 --> 00:02:21,840 Speaker 1: Well. 33 00:02:21,880 --> 00:02:23,520 Speaker 2: And especially you know, when you're an actor, it's like 34 00:02:23,880 --> 00:02:26,280 Speaker 2: you're always being told you should be grateful you've got 35 00:02:26,320 --> 00:02:27,520 Speaker 2: the job, you know. 36 00:02:27,560 --> 00:02:29,919 Speaker 1: So being told that if you if you push too much, 37 00:02:30,000 --> 00:02:31,680 Speaker 1: you're going to get a bad reputation. 38 00:02:31,280 --> 00:02:32,799 Speaker 2: For being Yes, yes, and I. 39 00:02:32,919 --> 00:02:35,840 Speaker 1: Those actors that are infinitely less talented than you who 40 00:02:36,280 --> 00:02:37,240 Speaker 1: all the time they're. 41 00:02:37,080 --> 00:02:39,160 Speaker 2: Just easy to easier to work with, and they don't 42 00:02:39,200 --> 00:02:40,040 Speaker 2: they don't cause. 43 00:02:40,720 --> 00:02:43,400 Speaker 1: In terms of being an African American performer, did that change? 44 00:02:43,720 --> 00:02:45,359 Speaker 2: Well? I tell you, I mean, let me give you 45 00:02:45,400 --> 00:02:48,440 Speaker 2: an example of how in some ways it changed and 46 00:02:48,480 --> 00:02:50,560 Speaker 2: didn't change. I have to I have to acknowledge the 47 00:02:50,560 --> 00:02:54,520 Speaker 2: fact that I am someone who has had uh an 48 00:02:54,520 --> 00:02:57,680 Speaker 2: incredible opportunity in terms of sort of breaking down barriers 49 00:02:57,960 --> 00:03:00,640 Speaker 2: as far as like color blind casting, being color blind 50 00:03:00,680 --> 00:03:04,640 Speaker 2: cast as Carrie Pepperridge in in Carousel, you know, or 51 00:03:04,840 --> 00:03:07,320 Speaker 2: the fact that I played Mother Abbess and the Sound 52 00:03:07,320 --> 00:03:10,880 Speaker 2: of Music Live, you know, and you know a lot 53 00:03:10,919 --> 00:03:13,200 Speaker 2: of people have issues with that, but you know, I 54 00:03:13,760 --> 00:03:15,640 Speaker 2: was the one that got the opportunity to do that. 55 00:03:15,880 --> 00:03:19,480 Speaker 2: You know, when I was doing Annie for ABC, they 56 00:03:19,520 --> 00:03:21,640 Speaker 2: did a version of that with Kathy Bates and Victor 57 00:03:21,680 --> 00:03:25,680 Speaker 2: Garber and Alan Comming and Kristin Chenowith, and they cast 58 00:03:25,760 --> 00:03:29,320 Speaker 2: me as Grace Ferrell and there was a scene at 59 00:03:29,320 --> 00:03:33,120 Speaker 2: the end where Grace Ferrell and Daddy Warbooks proposes to 60 00:03:33,320 --> 00:03:37,560 Speaker 2: Grace Ferrell at the end, the happy endings happening. You know. Warbucks, Yes, 61 00:03:38,120 --> 00:03:42,600 Speaker 2: he was my daddy. I love him too. And actually 62 00:03:42,640 --> 00:03:44,560 Speaker 2: you'll appreciate this. We were sitting around one day on 63 00:03:44,560 --> 00:03:47,160 Speaker 2: the set and you know, in the big gorgeous mansion 64 00:03:47,320 --> 00:03:49,200 Speaker 2: that Daddy war Books has, and we were sitting between 65 00:03:49,240 --> 00:03:51,600 Speaker 2: takes and I was sitting next to Victor, and I 66 00:03:51,720 --> 00:03:54,480 Speaker 2: just got a little emotional. I said, Victor, what if 67 00:03:54,520 --> 00:03:57,240 Speaker 2: this was really our house and we were really getting 68 00:03:57,280 --> 00:04:00,000 Speaker 2: married and we had all this money and this life. 69 00:04:00,120 --> 00:04:03,120 Speaker 2: And he said, in the just true Victor fashion, Darling, 70 00:04:03,400 --> 00:04:08,160 Speaker 2: get a hold of yourself. You can totally Victors saying that, right. 71 00:04:08,720 --> 00:04:11,800 Speaker 2: But anyway, so we were filming Barrier. Yeah, we're we're 72 00:04:11,800 --> 00:04:15,800 Speaker 2: filming Annie and so we shot the scene where you know, 73 00:04:15,920 --> 00:04:19,280 Speaker 2: Daddy Warbucks gives Grace Ferrell the ring and it's lovely. 74 00:04:19,360 --> 00:04:23,200 Speaker 2: And then we get word that we have to come 75 00:04:23,240 --> 00:04:26,640 Speaker 2: in on a Saturday to do some reshoots. And Rob 76 00:04:26,680 --> 00:04:31,360 Speaker 2: Marshall was directing, and Neil Maren and Craig Zayden, who 77 00:04:31,360 --> 00:04:34,120 Speaker 2: were wonderful, wonderful producers and have been very kind to 78 00:04:34,160 --> 00:04:35,600 Speaker 2: me over the years and give me a lot of work. 79 00:04:35,640 --> 00:04:38,599 Speaker 2: They cast me in Sound of Music as mother Abbess, 80 00:04:38,640 --> 00:04:43,320 Speaker 2: and they said we have to do some reshoots, and 81 00:04:43,360 --> 00:04:45,000 Speaker 2: then they took me aside and said, it turns out 82 00:04:45,080 --> 00:04:48,880 Speaker 2: that Disney might be a little uncomfortable or the powers 83 00:04:48,880 --> 00:04:50,279 Speaker 2: that be. I don't know if it was Disney abcre, 84 00:04:50,279 --> 00:04:52,719 Speaker 2: I don't know. We are comfortable. There might be some 85 00:04:52,839 --> 00:04:57,040 Speaker 2: issues with Daddy Warbucks. Actually marrying Grace, So what year 86 00:04:57,160 --> 00:05:02,440 Speaker 2: was this? Nineteen ninety nine? So we need to reshoot 87 00:05:02,920 --> 00:05:08,799 Speaker 2: the scene and do it without. 88 00:05:07,279 --> 00:05:09,600 Speaker 1: You're hooking up with Daddy Warbucks. 89 00:05:09,320 --> 00:05:15,760 Speaker 2: Giving yeah, And I was devastated. I was I was devastated. 90 00:05:16,000 --> 00:05:18,520 Speaker 2: It's one of those things where you know you're starting 91 00:05:18,520 --> 00:05:19,960 Speaker 2: to feel good, You're starting to feel like, oh, there's 92 00:05:20,000 --> 00:05:22,359 Speaker 2: really change coming. Things are happening here. I am playing 93 00:05:22,360 --> 00:05:25,359 Speaker 2: this role and it's it's Annie, but nobody cares, and 94 00:05:25,360 --> 00:05:25,680 Speaker 2: it's what. 95 00:05:25,680 --> 00:05:27,520 Speaker 1: How did everybody else feel? Including Victor? 96 00:05:27,720 --> 00:05:29,840 Speaker 2: I think everybody and Rob I think they were all 97 00:05:29,960 --> 00:05:31,560 Speaker 2: kind of horrified, and you. 98 00:05:31,520 --> 00:05:33,120 Speaker 1: Know, and also did they use in the product in 99 00:05:33,160 --> 00:05:33,680 Speaker 1: the film? 100 00:05:34,480 --> 00:05:36,560 Speaker 2: Rob said, Okay, so we're all going to come in 101 00:05:36,600 --> 00:05:38,760 Speaker 2: on a Saturday, and you know how expensive that is 102 00:05:38,800 --> 00:05:40,839 Speaker 2: when you're only shooting Monday through Friday, coming on a 103 00:05:40,839 --> 00:05:44,160 Speaker 2: Saturday just to reshoot the scene. So everybody comes in 104 00:05:44,320 --> 00:05:47,480 Speaker 2: and we get dressed up in that moment for that scene, 105 00:05:47,720 --> 00:05:53,159 Speaker 2: and Rob does one big master take of Daddy Warbucks 106 00:05:53,240 --> 00:05:56,080 Speaker 2: just sort of going, hey, and bit buddy, buddy, it's 107 00:05:56,120 --> 00:06:00,520 Speaker 2: great in this great this happened? Okay, kid, exactly you 108 00:06:01,000 --> 00:06:06,360 Speaker 2: over there, you person? You and he got one shot 109 00:06:06,880 --> 00:06:09,760 Speaker 2: one master take one shot, and then Rob said, okay, 110 00:06:09,880 --> 00:06:13,120 Speaker 2: got that, so while we're here, and then he proceeded 111 00:06:13,160 --> 00:06:15,440 Speaker 2: to reshoot other things that he thought he could make 112 00:06:15,720 --> 00:06:18,240 Speaker 2: a lot of it, so he tanked it to it. 113 00:06:18,320 --> 00:06:20,040 Speaker 1: He did tank it, and so they couldn't use it. 114 00:06:20,200 --> 00:06:22,040 Speaker 2: So they ended up using where So you look in 115 00:06:22,080 --> 00:06:24,760 Speaker 2: the film and Daddy Warbucks proposes to Grace Ferrell in 116 00:06:24,839 --> 00:06:28,440 Speaker 2: that and that's because that's because of Rob, you know. 117 00:06:28,720 --> 00:06:30,280 Speaker 1: Yeah, and his courage. 118 00:06:30,400 --> 00:06:33,240 Speaker 2: His courage. Absolutely. And then at the end of the 119 00:06:33,279 --> 00:06:36,080 Speaker 2: year when the film came out, Time magazine said something, 120 00:06:36,200 --> 00:06:37,920 Speaker 2: or maybe it was a newsweek and of he said 121 00:06:37,920 --> 00:06:40,960 Speaker 2: that in Things that Happened this Year, Daddy Warbucks Mary 122 00:06:41,000 --> 00:06:44,719 Speaker 2: is a black Grace Ferrell and nobody cares. So I 123 00:06:44,760 --> 00:06:46,919 Speaker 2: don't know what that's the answer to, but it's just 124 00:06:46,960 --> 00:06:48,280 Speaker 2: an issue of things that you know, you think, you 125 00:06:48,400 --> 00:06:50,680 Speaker 2: get to a certain point where you know things are changing, 126 00:06:50,760 --> 00:06:53,640 Speaker 2: and then boom, you're sort of slammed back into that reality. 127 00:06:54,120 --> 00:06:55,360 Speaker 1: What are you in the middle of doing now? 128 00:06:56,480 --> 00:06:59,760 Speaker 2: I can't remember you're doing You rehearsing some show? Yes, yes, 129 00:06:59,760 --> 00:07:02,159 Speaker 2: I say so. I've got a lady Day was on 130 00:07:02,200 --> 00:07:02,640 Speaker 2: the West End. 131 00:07:02,720 --> 00:07:03,520 Speaker 1: You're going to go to London. 132 00:07:03,640 --> 00:07:06,600 Speaker 2: Yeah, I've never been. No, I've never performed on the 133 00:07:06,600 --> 00:07:07,040 Speaker 2: West End. 134 00:07:07,720 --> 00:07:09,440 Speaker 1: That's what I mean. You've never performed over there. 135 00:07:09,520 --> 00:07:11,200 Speaker 2: Not I performed, but never on the West End. I've 136 00:07:11,240 --> 00:07:13,160 Speaker 2: never I've done like concerts and stuff that I've never 137 00:07:13,200 --> 00:07:13,720 Speaker 2: done a show. 138 00:07:13,840 --> 00:07:14,960 Speaker 1: You never did a legit show? 139 00:07:15,240 --> 00:07:16,080 Speaker 2: Yeah, yeah, yeah. 140 00:07:16,360 --> 00:07:18,560 Speaker 1: What of the places outside of New York have you performed? 141 00:07:18,760 --> 00:07:20,240 Speaker 1: That's an interesting thing to think about. 142 00:07:20,440 --> 00:07:24,600 Speaker 2: Well, in terms of like concert work everywhere, but actual shows, 143 00:07:24,880 --> 00:07:27,680 Speaker 2: I've only done, Well, that's not true. I did the 144 00:07:27,720 --> 00:07:30,760 Speaker 2: Secret Garden Tour million years ago, so you do kind 145 00:07:30,760 --> 00:07:34,120 Speaker 2: of a national tour, you go all over the place. No, La, Yeah, 146 00:07:34,120 --> 00:07:36,920 Speaker 2: I did it, but as you know, ensemble member, you know. 147 00:07:37,040 --> 00:07:39,120 Speaker 2: And then I did Masterclass. It is the only other 148 00:07:39,120 --> 00:07:40,960 Speaker 2: one that I did. I did that in LA and 149 00:07:41,000 --> 00:07:42,880 Speaker 2: at the Kennedy Center. We did the taper at the 150 00:07:42,960 --> 00:07:46,760 Speaker 2: Kennedy Center and Plays and Players in Philadelphia before we 151 00:07:46,800 --> 00:07:48,840 Speaker 2: came into New York. But that's been the nineties. 152 00:07:49,240 --> 00:07:52,680 Speaker 1: Do you find that you stay in New York and 153 00:07:52,680 --> 00:07:54,360 Speaker 1: try to stay in New York if that's home and 154 00:07:54,400 --> 00:07:56,400 Speaker 1: that's easier for you, and well, yeah, I mean it 155 00:07:56,480 --> 00:07:57,440 Speaker 1: is Broadway. 156 00:07:57,240 --> 00:07:58,760 Speaker 2: It's Broadway, and that's where I want to be. Yeah, 157 00:07:58,800 --> 00:08:02,160 Speaker 2: but especially since since having kids, you know, I mean, 158 00:08:02,200 --> 00:08:04,560 Speaker 2: do you have no Well, I have a six month old, 159 00:08:05,480 --> 00:08:07,920 Speaker 2: and I have a sixteen year old, and I have 160 00:08:08,240 --> 00:08:10,360 Speaker 2: two step sons who are sixteen and thirteen. 161 00:08:10,440 --> 00:08:14,760 Speaker 1: So it's you have a sixteen year old and that's yours, 162 00:08:14,840 --> 00:08:17,160 Speaker 1: that's mine, and you have a six month old that's mine, 163 00:08:17,200 --> 00:08:17,760 Speaker 1: that's yours. 164 00:08:17,880 --> 00:08:20,840 Speaker 2: Yes, yes, you know what that's like, having a bit 165 00:08:20,880 --> 00:08:21,840 Speaker 2: of a spread in between. 166 00:08:22,040 --> 00:08:23,400 Speaker 1: You had a kid when you were very young, the 167 00:08:23,480 --> 00:08:24,080 Speaker 1: sixteen year. 168 00:08:23,960 --> 00:08:26,080 Speaker 2: Old, Well, that's very kind of you to say. No, 169 00:08:26,360 --> 00:08:28,880 Speaker 2: I was thirty when I had my first and now 170 00:08:28,880 --> 00:08:30,080 Speaker 2: I'm forty six and. 171 00:08:30,040 --> 00:08:31,200 Speaker 1: You want to have another baby? 172 00:08:31,560 --> 00:08:33,880 Speaker 2: I you know, I or you were drunk on a 173 00:08:33,920 --> 00:08:35,240 Speaker 2: sailboat with your husband? 174 00:08:35,360 --> 00:08:36,319 Speaker 1: What happened? Which is it? 175 00:08:36,400 --> 00:08:39,160 Speaker 2: Which is it? It's it's it's somewhere in between. It's 176 00:08:39,200 --> 00:08:43,960 Speaker 2: really that the Broncos won the Super Bowl. Seriously, my god, 177 00:08:44,240 --> 00:08:48,080 Speaker 2: and my husband is a big Broncos fan, and nine 178 00:08:48,080 --> 00:08:52,400 Speaker 2: months later history the rest is Sally James McDonald's Winson. Now, yeah, 179 00:08:52,880 --> 00:08:54,760 Speaker 2: what are you gonna dow? Was that for you? 180 00:08:54,840 --> 00:08:57,800 Speaker 1: Because I mean I don't always want to ask I 181 00:08:57,880 --> 00:08:59,839 Speaker 1: was saying, how I want to do another show, but 182 00:09:00,040 --> 00:09:02,360 Speaker 1: I don't want to be away at dinner time every night. Yeah, 183 00:09:02,400 --> 00:09:04,840 Speaker 1: for four to six months, that's what's that like? Do 184 00:09:04,880 --> 00:09:05,840 Speaker 1: you bring the kids to the theater? 185 00:09:06,080 --> 00:09:08,200 Speaker 2: I did, well, I certainly did with my sixteen year old. 186 00:09:09,280 --> 00:09:11,199 Speaker 2: When she was little, she was at the theater all 187 00:09:11,200 --> 00:09:13,720 Speaker 2: the time with me. That was kind of the only way. 188 00:09:13,800 --> 00:09:18,360 Speaker 2: And I imagine, well, I know for a fact, when 189 00:09:18,360 --> 00:09:21,640 Speaker 2: I'm in London, I'm staying very close to the theater, 190 00:09:21,720 --> 00:09:25,120 Speaker 2: and she'll be at the theater. And and if I 191 00:09:25,120 --> 00:09:28,000 Speaker 2: were to get another Broadway show, I would just bring 192 00:09:28,040 --> 00:09:29,440 Speaker 2: her there because you don't want to you don't want 193 00:09:29,440 --> 00:09:31,880 Speaker 2: to miss anything, and you don't you don't want to 194 00:09:31,880 --> 00:09:32,480 Speaker 2: make them feel like. 195 00:09:32,559 --> 00:09:34,160 Speaker 1: What about the baby? 196 00:09:34,160 --> 00:09:36,439 Speaker 2: But yeah, the baby will come. Absolutely. 197 00:09:36,480 --> 00:09:37,880 Speaker 1: She has to just be with you right up till 198 00:09:37,920 --> 00:09:38,440 Speaker 1: the half hour. 199 00:09:38,640 --> 00:09:40,640 Speaker 2: That's what I've been doing now this year, you know, 200 00:09:40,640 --> 00:09:43,800 Speaker 2: since i've had her, I've started back concertizing and literally 201 00:09:44,800 --> 00:09:48,240 Speaker 2: I've had her backstage with either my husband when he 202 00:09:48,280 --> 00:09:53,040 Speaker 2: can join me, or my babysitter, and I will sing 203 00:09:53,160 --> 00:09:55,920 Speaker 2: and then run off stage and nurse her and then 204 00:09:56,040 --> 00:09:57,679 Speaker 2: you know, go do your meet and greet or whatever 205 00:09:57,720 --> 00:10:00,679 Speaker 2: and actually during one concert she was really fussy, and 206 00:10:00,679 --> 00:10:02,760 Speaker 2: so my husband went on and performed, and I ran 207 00:10:02,800 --> 00:10:04,880 Speaker 2: off stage and nursed her and called her down and 208 00:10:04,880 --> 00:10:07,360 Speaker 2: they went back on stage. Crazy crazy. 209 00:10:07,760 --> 00:10:09,080 Speaker 1: Where did you meet him? Your husband? 210 00:10:09,280 --> 00:10:11,840 Speaker 2: We met doing one hundred and ten in the Shade, 211 00:10:12,240 --> 00:10:15,680 Speaker 2: the show on Broadway back in two thousand and seven. Yeah, 212 00:10:15,720 --> 00:10:17,600 Speaker 2: it was a long time ago, really, Yeah. Yeah, Yeah, 213 00:10:17,600 --> 00:10:21,280 Speaker 2: it was a crazy time too. I met him and 214 00:10:21,480 --> 00:10:23,880 Speaker 2: then my dad was killed in the plane crash like 215 00:10:25,080 --> 00:10:28,240 Speaker 2: a couple of weeks, like about six weeks later. Your dad, 216 00:10:28,480 --> 00:10:31,440 Speaker 2: he was a high school principal that you grew. 217 00:10:31,320 --> 00:10:32,000 Speaker 1: Up in California. 218 00:10:32,080 --> 00:10:33,880 Speaker 2: Yeah, but you were born in Germany. I was born 219 00:10:33,880 --> 00:10:34,280 Speaker 2: in Germany. 220 00:10:34,400 --> 00:10:35,200 Speaker 1: What was he doing over there? 221 00:10:35,440 --> 00:10:37,439 Speaker 2: He was in the he was in the army. Yeah. 222 00:10:37,480 --> 00:10:40,599 Speaker 2: And then yeah, I was raised in Fresno, California, and 223 00:10:40,600 --> 00:10:42,080 Speaker 2: my dad was a high school principal and then he 224 00:10:42,080 --> 00:10:45,479 Speaker 2: went on to become an associated superintendent of schools there. 225 00:10:45,679 --> 00:10:49,400 Speaker 2: But his passion was flying and he flew small planes 226 00:10:49,440 --> 00:10:51,240 Speaker 2: and he had his own and he was he had 227 00:10:51,280 --> 00:10:53,240 Speaker 2: just recently retired and he had his own plane that 228 00:10:53,280 --> 00:10:59,000 Speaker 2: he was flying. And yeah, he where were you that? 229 00:10:59,320 --> 00:11:02,920 Speaker 2: I was actually walking? I just finished the matinee of 230 00:11:02,960 --> 00:11:04,320 Speaker 2: one hundred and in the shape. We were still in 231 00:11:04,360 --> 00:11:09,040 Speaker 2: previews and I was walking with my husband. He wasn't 232 00:11:09,040 --> 00:11:10,520 Speaker 2: my husband at the time, he was just a friend 233 00:11:10,559 --> 00:11:12,440 Speaker 2: at the time. A bunch of us were walking to 234 00:11:12,559 --> 00:11:14,880 Speaker 2: meet the rest of the cast to have you know, 235 00:11:14,920 --> 00:11:18,120 Speaker 2: a post you know, Sunday matinee drink with the entire cast, 236 00:11:18,960 --> 00:11:21,080 Speaker 2: and my stepmom called. 237 00:11:21,320 --> 00:11:22,880 Speaker 1: And said, my dad was remarried. 238 00:11:23,040 --> 00:11:26,400 Speaker 2: Yes, he was remarried, and yes, my mom was. She 239 00:11:26,480 --> 00:11:28,520 Speaker 2: lives next door to me in the city. Yeah, yeah, 240 00:11:28,600 --> 00:11:34,760 Speaker 2: or yeah, in Westchester. When she retired she left town breath, yes, yes, 241 00:11:34,840 --> 00:11:38,440 Speaker 2: but yeah. My stepmom called me and said, and I 242 00:11:38,520 --> 00:11:41,960 Speaker 2: was just I was on fifty third Street between eighth 243 00:11:42,000 --> 00:11:46,000 Speaker 2: and ninth Avenues, and it was it was It's interesting, 244 00:11:46,120 --> 00:11:48,680 Speaker 2: you know in those moments, you know, you see what 245 00:11:48,720 --> 00:11:51,880 Speaker 2: happens in film and you think it'll be similar, you know, 246 00:11:52,120 --> 00:11:54,720 Speaker 2: in real life, and it's it seldom is, you know, 247 00:11:54,720 --> 00:11:59,360 Speaker 2: as an act. Well, I didn't I didn't compute what 248 00:11:59,400 --> 00:12:02,320 Speaker 2: she was saying. You know, she said, your dad, dad 249 00:12:02,360 --> 00:12:05,160 Speaker 2: had an accident while he was flying the plane and 250 00:12:05,200 --> 00:12:08,000 Speaker 2: he didn't make it. And I kept saying, oh, I said, okay, 251 00:12:08,040 --> 00:12:10,480 Speaker 2: so where is he now? And she said, Audra, he 252 00:12:10,520 --> 00:12:14,040 Speaker 2: didn't make it. I was like, okay, well where it is? Yeah, 253 00:12:14,080 --> 00:12:16,959 Speaker 2: but I wasn't. It wasn't computing either, you know, and 254 00:12:17,840 --> 00:12:21,120 Speaker 2: I was just really stunned. And it took it took 255 00:12:21,200 --> 00:12:24,240 Speaker 2: a day for me to really start to cry, you know, 256 00:12:24,320 --> 00:12:27,559 Speaker 2: because it just it ver close to him, Yeah, yeah, 257 00:12:27,640 --> 00:12:29,960 Speaker 2: very close, and it just wasn't making sense, you know. 258 00:12:30,520 --> 00:12:33,320 Speaker 2: So it's interesting. I mean, it's been ten years on 259 00:12:33,360 --> 00:12:35,760 Speaker 2: it'll be ten years actually next week that he's since 260 00:12:35,800 --> 00:12:39,079 Speaker 2: his passing, and but it's just interesting. As an actor, 261 00:12:39,120 --> 00:12:41,240 Speaker 2: this sounds so cold and callous and it's not. It's 262 00:12:41,240 --> 00:12:42,959 Speaker 2: not meant to be. But as an actor, there was 263 00:12:43,000 --> 00:12:44,960 Speaker 2: a part of me that was sort of floating away 264 00:12:44,960 --> 00:12:47,719 Speaker 2: from my body watching the scene, going, I don't think 265 00:12:47,720 --> 00:12:51,920 Speaker 2: you're having the right reaction, right, you know, I don't process. Yeah, yeah, 266 00:12:51,920 --> 00:12:53,840 Speaker 2: that's not you know, if this were a scene, you'd 267 00:12:53,880 --> 00:12:56,680 Speaker 2: fall to the ground and you know, break into a 268 00:12:56,679 --> 00:12:59,440 Speaker 2: million pieces, and you're not doing that. You're you're playing 269 00:12:59,480 --> 00:13:03,000 Speaker 2: the scene. It's so strange. But actually I know exactly 270 00:13:03,080 --> 00:13:06,040 Speaker 2: when I really started to cry about my dad's passing, 271 00:13:06,080 --> 00:13:10,280 Speaker 2: and it was I found out we were getting ready 272 00:13:10,320 --> 00:13:12,000 Speaker 2: to open one hundred and ten in the Shade, And 273 00:13:12,040 --> 00:13:13,680 Speaker 2: so we were getting ready to go into critics Week 274 00:13:13,679 --> 00:13:16,000 Speaker 2: where critics are coming and they're saying, I'm saying I 275 00:13:16,040 --> 00:13:18,360 Speaker 2: have to go, and they're saying, you're the star of 276 00:13:18,400 --> 00:13:21,560 Speaker 2: the show. You can't leave as I have to. And 277 00:13:21,640 --> 00:13:23,600 Speaker 2: so they canceled a couple of shows so I could 278 00:13:23,600 --> 00:13:25,000 Speaker 2: fly home to California. 279 00:13:25,480 --> 00:13:26,800 Speaker 1: This is for their father's funeral. 280 00:13:27,120 --> 00:13:29,560 Speaker 2: Yeah, they said, you can't leave. Well, they were just 281 00:13:30,080 --> 00:13:31,520 Speaker 2: they were like, how do we do this? You know? 282 00:13:31,559 --> 00:13:32,920 Speaker 2: And actually it was at the end of it was 283 00:13:32,960 --> 00:13:35,520 Speaker 2: like right at Tony, what's it called it? When it's 284 00:13:35,559 --> 00:13:38,840 Speaker 2: the cutof time? Had qualification time, So everybody was like, 285 00:13:39,200 --> 00:13:41,520 Speaker 2: what do we do? So they were kind enough to 286 00:13:41,520 --> 00:13:43,560 Speaker 2: cancel enough shows for me to run home for the 287 00:13:43,600 --> 00:13:47,240 Speaker 2: funeral and trying to work that out with my stepmom 288 00:13:47,280 --> 00:13:51,319 Speaker 2: who was devastated and you know, really broken, and trying 289 00:13:51,320 --> 00:13:53,280 Speaker 2: to keep her together and keep the family together and 290 00:13:53,280 --> 00:13:55,880 Speaker 2: figure it all out. And it wasn't until after the 291 00:13:55,920 --> 00:13:58,400 Speaker 2: funeral you're saying hello to everybody. And I just kind 292 00:13:58,400 --> 00:14:00,480 Speaker 2: of kept it together the whole time. And then as 293 00:14:00,480 --> 00:14:04,199 Speaker 2: soon as I agreed it, like the thirtieth person or 294 00:14:04,200 --> 00:14:05,920 Speaker 2: something here, like a thousand people at his funeral. He 295 00:14:06,000 --> 00:14:10,200 Speaker 2: was very very well known and very loved in Fresno, California. 296 00:14:10,640 --> 00:14:14,600 Speaker 2: And his older sister came and said, how are you doing? 297 00:14:17,080 --> 00:14:18,839 Speaker 1: And that's when I lost it, when you emptied out. 298 00:14:18,960 --> 00:14:20,760 Speaker 2: I emptied out. But it was you know. But once again, 299 00:14:20,840 --> 00:14:23,920 Speaker 2: that's not how I mean. Maybe maybe a good director, 300 00:14:23,920 --> 00:14:25,800 Speaker 2: but that's not how I just imagine the film. 301 00:14:25,840 --> 00:14:28,760 Speaker 1: It was an actress. You're always controlling and managing your feelings. Anyway, 302 00:14:29,360 --> 00:14:32,040 Speaker 1: there was the lovers and knobs and dials inside of us. 303 00:14:32,240 --> 00:14:33,960 Speaker 1: They were in there playing with all them. Yes, of 304 00:14:34,000 --> 00:14:37,080 Speaker 1: course we get paid for you know. So you moved 305 00:14:37,120 --> 00:14:39,160 Speaker 1: to Fresno when you grew up in Fresno beginning at 306 00:14:39,160 --> 00:14:39,760 Speaker 1: what age? 307 00:14:40,200 --> 00:14:41,240 Speaker 2: I was nine months old? 308 00:14:41,320 --> 00:14:43,040 Speaker 1: To me, you're your little baby. So you're a child. 309 00:14:43,120 --> 00:14:48,280 Speaker 1: And so there's the Order McDonald who grows up in California. Yeah, 310 00:14:48,400 --> 00:14:50,360 Speaker 1: there's the Order of McDonald, who now is one of 311 00:14:50,400 --> 00:14:54,920 Speaker 1: the princesses of the Broadway Theater. There's like a Mount Rushmore. 312 00:14:54,920 --> 00:14:57,400 Speaker 1: It's you and burned Itad and all these chicks. Now, 313 00:14:57,400 --> 00:15:00,160 Speaker 1: who are these the greatest singers in the world? And 314 00:15:00,480 --> 00:15:03,800 Speaker 1: I want to talk about the Auder in between. So 315 00:15:03,920 --> 00:15:06,400 Speaker 1: the order in between when you first started into the business, 316 00:15:06,760 --> 00:15:09,280 Speaker 1: when people are hiring you and as you're building your 317 00:15:09,320 --> 00:15:11,920 Speaker 1: career in New York and singing, what were they hiring 318 00:15:11,960 --> 00:15:12,440 Speaker 1: you for? 319 00:15:12,880 --> 00:15:15,520 Speaker 2: Well, I think it had more to do with if 320 00:15:15,520 --> 00:15:17,280 Speaker 2: I look back on it now, and no one's ever 321 00:15:17,360 --> 00:15:19,760 Speaker 2: asked me this, So kudos to you. 322 00:15:20,000 --> 00:15:21,440 Speaker 1: Well, I do try. 323 00:15:21,880 --> 00:15:26,440 Speaker 2: You've got the talent, But I think it had more 324 00:15:26,480 --> 00:15:31,920 Speaker 2: to do with I wasn't what people were expecting, you know, 325 00:15:32,200 --> 00:15:34,480 Speaker 2: back in those days. Can I say back in those days, yeah, 326 00:15:34,560 --> 00:15:37,360 Speaker 2: the early nineties. You know, you'd go an audition for 327 00:15:37,400 --> 00:15:40,880 Speaker 2: something and they'd see an African American girl in her 328 00:15:40,920 --> 00:15:43,120 Speaker 2: twenties walk in, and I think they'd expect some big 329 00:15:43,160 --> 00:15:46,080 Speaker 2: gospel voice or you know, they're like, can you be 330 00:15:46,160 --> 00:15:48,800 Speaker 2: street smart? You know all those code words and whatnot, 331 00:15:49,200 --> 00:15:51,240 Speaker 2: and I would sort of break out with the pseudo 332 00:15:51,480 --> 00:15:56,160 Speaker 2: operatic voice that had Broadway qualities and was a bit goofy, 333 00:15:57,640 --> 00:16:00,400 Speaker 2: and so I think it just intrigued people and anything. 334 00:16:00,400 --> 00:16:02,320 Speaker 2: I think that's even how I got into Juilliard. When 335 00:16:02,360 --> 00:16:04,520 Speaker 2: I auditioned for Juilliard and I wasn't, you know, I 336 00:16:04,560 --> 00:16:07,080 Speaker 2: wasn't really wanting to pursue classical music. But I thought 337 00:16:07,120 --> 00:16:09,760 Speaker 2: I'll audition on the strength of my voice. That's that's 338 00:16:09,440 --> 00:16:10,480 Speaker 2: my strength. 339 00:16:10,680 --> 00:16:12,040 Speaker 1: Was that a goal to go to Juilliard? 340 00:16:12,200 --> 00:16:13,960 Speaker 2: Well, I wanted to go to New York. I wanted 341 00:16:14,000 --> 00:16:16,080 Speaker 2: to live in New York. Juilliard was it Lincoln Center, 342 00:16:16,320 --> 00:16:19,520 Speaker 2: you know, you know, the good beginning. Yeah, And I 343 00:16:19,560 --> 00:16:21,440 Speaker 2: thought I'd be able to get like my acting classes 344 00:16:21,440 --> 00:16:23,080 Speaker 2: in Nancy class as well. I was there. I didn't 345 00:16:23,080 --> 00:16:25,360 Speaker 2: realize that once you're in a program, once you're in 346 00:16:25,360 --> 00:16:29,640 Speaker 2: the department, you know, you shall not stray. You stay 347 00:16:29,680 --> 00:16:32,720 Speaker 2: in that department, and you know, so I just went 348 00:16:32,760 --> 00:16:34,680 Speaker 2: in there an audition, didn't really know what I was doing, 349 00:16:34,760 --> 00:16:37,000 Speaker 2: and kind of riffed at the end of a Mozart area. 350 00:16:37,040 --> 00:16:39,160 Speaker 2: You're not supposed to riff with Mozart, and I did. 351 00:16:39,680 --> 00:16:41,360 Speaker 2: And I said, I was a meto soprano, and I'm 352 00:16:41,360 --> 00:16:44,800 Speaker 2: singing subrette, you know, roles for them, showing them. I 353 00:16:44,840 --> 00:16:47,280 Speaker 2: sang a subrette aria from the note to figure out 354 00:16:47,400 --> 00:16:48,120 Speaker 2: maryagifigure out. 355 00:16:48,120 --> 00:16:50,240 Speaker 1: And so for people who don't know what subrette is, 356 00:16:50,240 --> 00:16:50,720 Speaker 1: what is that? 357 00:16:51,000 --> 00:16:53,800 Speaker 2: I'm one of those people, by the way, you doret, well, 358 00:16:53,800 --> 00:16:56,440 Speaker 2: subrette is sort of like a really high light soprano, 359 00:16:56,560 --> 00:16:59,840 Speaker 2: not necessarily coloratura, but she's like a young, sweet heroine, 360 00:17:00,840 --> 00:17:07,159 Speaker 2: lighter sound, not like a full lyric soprano. And so 361 00:17:07,640 --> 00:17:09,840 Speaker 2: it's a lot of people say the ena roles despina 362 00:17:09,920 --> 00:17:12,560 Speaker 2: or it's their lina, the little cute roles. So anyway, 363 00:17:12,880 --> 00:17:14,800 Speaker 2: that's what I sang. I sang one of those arias. 364 00:17:14,800 --> 00:17:17,040 Speaker 2: But then I said I'm a mezzo soprano, which I 365 00:17:17,119 --> 00:17:20,000 Speaker 2: just was just that just showed how much I didn't know, 366 00:17:20,119 --> 00:17:24,360 Speaker 2: how little I do. And they laughed at me and 367 00:17:24,440 --> 00:17:26,440 Speaker 2: they said how old are you And I said I'm seventeen, 368 00:17:27,240 --> 00:17:29,760 Speaker 2: and they just said okay, And I thought, well, I 369 00:17:29,760 --> 00:17:33,199 Speaker 2: blew that. And then two weeks later they called me 370 00:17:33,240 --> 00:17:34,760 Speaker 2: and said, we want you to come to Juilliard. But 371 00:17:34,800 --> 00:17:37,199 Speaker 2: I don't think I think it was just intrigue on 372 00:17:37,240 --> 00:17:37,600 Speaker 2: their part. 373 00:17:37,680 --> 00:17:41,479 Speaker 1: Are you there for four years? Well would you start working? 374 00:17:41,800 --> 00:17:45,280 Speaker 2: No? I was there for five years. 375 00:17:44,760 --> 00:17:46,320 Speaker 1: But you finished there, you graduated from there. 376 00:17:46,400 --> 00:17:48,679 Speaker 2: Yeah. I took a leave of absence because I had 377 00:17:48,720 --> 00:17:51,199 Speaker 2: a suicide attempt actually while I was there, so I 378 00:17:51,200 --> 00:17:53,000 Speaker 2: took a leave of absence. There's a lot that happened 379 00:17:53,000 --> 00:17:55,480 Speaker 2: between the Order and Presner California and the order who's 380 00:17:55,520 --> 00:17:56,360 Speaker 2: on Broadway? 381 00:17:56,520 --> 00:17:59,000 Speaker 1: Now, Okay, we're going to cover as much of that 382 00:17:59,040 --> 00:18:00,200 Speaker 1: as you care to time. 383 00:18:00,440 --> 00:18:01,679 Speaker 2: I'm completely open about it. 384 00:18:02,680 --> 00:18:05,960 Speaker 1: So you're in Juilliard, Yeah, what years was that? That 385 00:18:06,040 --> 00:18:07,200 Speaker 1: five years was from when to when? 386 00:18:07,320 --> 00:18:09,200 Speaker 2: It was from nineteen eighty eight to nineteen ninety three. 387 00:18:09,440 --> 00:18:12,919 Speaker 1: Right, So when you're there, was it trouble for you 388 00:18:13,000 --> 00:18:15,480 Speaker 1: fitting in? Did you feel uncomfortable and out of place? There? 389 00:18:15,560 --> 00:18:17,960 Speaker 2: Absolutely was that a part of what led you to 390 00:18:17,960 --> 00:18:20,840 Speaker 2: do what you did. Yeah, I felt out of place artistically. 391 00:18:21,359 --> 00:18:24,120 Speaker 2: I felt all my life growing up in Preston, California, 392 00:18:24,119 --> 00:18:26,040 Speaker 2: all I ever wanted to do was beyond Broadway. And 393 00:18:26,080 --> 00:18:28,600 Speaker 2: then I thought, you know, let me audition for Juilliard. 394 00:18:28,720 --> 00:18:32,080 Speaker 2: Just didn't think it through audition got in. So everybody 395 00:18:32,160 --> 00:18:34,760 Speaker 2: back at home is like, wow, Udra got into Juilliard 396 00:18:34,800 --> 00:18:37,120 Speaker 2: in New York. She's you know, she's gonna make it. 397 00:18:37,480 --> 00:18:39,920 Speaker 2: And then I get to Juilliard and I'm studying classical music. 398 00:18:39,960 --> 00:18:41,040 Speaker 2: I'm like, this isn't what I want to do. I 399 00:18:41,080 --> 00:18:43,240 Speaker 2: don't want to be an apt for singer. Why surely 400 00:18:43,240 --> 00:18:45,240 Speaker 2: they're going to let me go take some acting classes. 401 00:18:45,320 --> 00:18:47,160 Speaker 2: Surely it go do some dance less and surely didn't 402 00:18:47,160 --> 00:18:49,359 Speaker 2: go an audition for Broadway shows. No, you have to 403 00:18:49,560 --> 00:18:51,600 Speaker 2: just study, you know. 404 00:18:51,680 --> 00:18:52,560 Speaker 1: You are enjoying it. 405 00:18:52,800 --> 00:18:55,800 Speaker 2: No, And I felt lost. I felt completely lost. I 406 00:18:55,840 --> 00:18:57,439 Speaker 2: felt like I was offering about that. 407 00:18:57,840 --> 00:19:01,280 Speaker 1: But that alone, I'm assuming me if I'm wrong, didn't 408 00:19:01,359 --> 00:19:03,160 Speaker 1: lead you to do something drastic. What else? 409 00:19:03,280 --> 00:19:03,440 Speaker 3: No? 410 00:19:03,520 --> 00:19:05,760 Speaker 2: I mean, well, you know, to an extent, you can say, yeah, well, 411 00:19:06,640 --> 00:19:09,640 Speaker 2: you know, like I said, I'm open about it because 412 00:19:10,080 --> 00:19:12,280 Speaker 2: you know, I think I'm a case of it gets better, 413 00:19:12,400 --> 00:19:15,320 Speaker 2: you know. But I so I was lost in terms 414 00:19:15,320 --> 00:19:17,160 Speaker 2: of that, and then feeling like I couldn't just quit 415 00:19:17,200 --> 00:19:19,199 Speaker 2: and go back home because I would look like a 416 00:19:19,240 --> 00:19:22,240 Speaker 2: failure back at home. And you know, I had boy 417 00:19:22,320 --> 00:19:25,840 Speaker 2: trouble while I was there. And so the culmination of 418 00:19:26,040 --> 00:19:28,520 Speaker 2: being where I wanted to be in New York City, 419 00:19:29,200 --> 00:19:31,840 Speaker 2: thinking I'm finally going to realize my dreams, stuck and 420 00:19:31,880 --> 00:19:35,639 Speaker 2: failing miserably at Juilliard, not being able to admit to 421 00:19:35,640 --> 00:19:37,760 Speaker 2: anybody at home what was going on, Not being able 422 00:19:37,800 --> 00:19:39,560 Speaker 2: to go home because I would have looked like a failure. 423 00:19:40,080 --> 00:19:45,200 Speaker 2: Living literally on Broadway, on Broadway, my apartment, my address 424 00:19:45,359 --> 00:19:49,760 Speaker 2: was Broadway twenty five oh eight, Broadway ninety third. I 425 00:19:49,800 --> 00:19:51,280 Speaker 2: lived with the residential of. 426 00:19:51,359 --> 00:19:56,240 Speaker 1: The old Broadway, like well, the wild wild West. Anything 427 00:19:56,280 --> 00:19:57,639 Speaker 1: north of Baby sixth Street, forget it. 428 00:19:57,680 --> 00:20:00,040 Speaker 2: You not in those days, shield and the sword. 429 00:20:00,080 --> 00:20:01,240 Speaker 1: To go to the grocery store. 430 00:20:01,080 --> 00:20:03,080 Speaker 2: Right and crazy to look at it now, Oh my goodness. 431 00:20:03,080 --> 00:20:05,399 Speaker 1: But what I'm curious about is that the woman, the 432 00:20:05,480 --> 00:20:11,640 Speaker 1: young woman from Fresno, who goes to New York. And again, 433 00:20:12,440 --> 00:20:14,080 Speaker 1: let me put a fine point of this before you answer, 434 00:20:14,119 --> 00:20:16,040 Speaker 1: which is, and you say you have boy troubles? Are 435 00:20:16,040 --> 00:20:19,679 Speaker 1: you dating a different kind of boy now with Juliet? No, 436 00:20:19,800 --> 00:20:21,520 Speaker 1: but the boys were hard for you to understand. 437 00:20:21,640 --> 00:20:23,679 Speaker 2: No, I was, you know, I was? 438 00:20:23,680 --> 00:20:24,480 Speaker 1: Was that all the same? 439 00:20:24,720 --> 00:20:27,880 Speaker 2: Well? I was just not being treated well by a boy. Yeah, 440 00:20:28,000 --> 00:20:29,840 Speaker 2: boys are the same, All boys in. 441 00:20:29,840 --> 00:20:33,520 Speaker 1: The same where you go? Yeah, thank you. My guest 442 00:20:33,560 --> 00:20:36,600 Speaker 1: has been ugum McDonald everyone, good night, everybody. No, but 443 00:20:36,600 --> 00:20:38,680 Speaker 1: but but but The reason I asked is I want 444 00:20:38,680 --> 00:20:40,520 Speaker 1: to Are you a fish out of water in every way? 445 00:20:40,720 --> 00:20:42,520 Speaker 2: Yes? I was a fish out of water in every 446 00:20:42,520 --> 00:20:44,720 Speaker 2: way except for the fact that I was in New York, 447 00:20:44,840 --> 00:20:47,199 Speaker 2: which is what I knew I wanted. I knew that 448 00:20:47,320 --> 00:20:50,680 Speaker 2: much was right, But everything else I kept you grounded, yes, 449 00:20:50,800 --> 00:20:54,280 Speaker 2: but everything else was wrong. And so you know, in 450 00:20:54,320 --> 00:20:56,760 Speaker 2: those days I was, you know, twenty twenty one. I 451 00:20:56,760 --> 00:20:59,120 Speaker 2: couldn't see past the fact that I had gotten here 452 00:20:59,240 --> 00:21:02,159 Speaker 2: and everything up up to now had gone swimmingly, and 453 00:21:02,200 --> 00:21:04,560 Speaker 2: all of a sudden it was all falling apart. 454 00:21:05,080 --> 00:21:08,119 Speaker 1: And if you don't know my asking, what were the 455 00:21:08,600 --> 00:21:11,440 Speaker 1: the ramp up the time and what you were thinking 456 00:21:11,440 --> 00:21:13,280 Speaker 1: and feeling? And the only reason I asked this for 457 00:21:13,280 --> 00:21:15,560 Speaker 1: people who listen to this, who might be young people 458 00:21:16,080 --> 00:21:18,720 Speaker 1: and artists who experience a certain kind of pain that 459 00:21:18,800 --> 00:21:21,040 Speaker 1: you experience in this business that I think is very unique, 460 00:21:21,480 --> 00:21:25,120 Speaker 1: because you exude in your work. You seem so confident 461 00:21:25,160 --> 00:21:26,119 Speaker 1: and so powerful. 462 00:21:26,280 --> 00:21:29,480 Speaker 2: Well, I think it's because I'm now, I'm I'm where 463 00:21:29,480 --> 00:21:31,520 Speaker 2: I'm supposed to be. I'm doing what I'm supposed to 464 00:21:31,520 --> 00:21:33,720 Speaker 2: be doing. I'm doing what I think if you want 465 00:21:33,760 --> 00:21:35,360 Speaker 2: to get I don't. 466 00:21:35,119 --> 00:21:37,320 Speaker 1: Know, you're not playing the Eena roles anymore. 467 00:21:37,400 --> 00:21:41,520 Speaker 2: No, no, no, But I it's more about I'm artistically fulfilled. 468 00:21:41,640 --> 00:21:44,199 Speaker 2: I think my artistic soul is fulfilled. It's doing what 469 00:21:44,240 --> 00:21:47,320 Speaker 2: it's supposed to do. 470 00:21:56,560 --> 00:22:12,480 Speaker 4: You agree, look copy to me. 471 00:22:16,040 --> 00:22:20,040 Speaker 1: Not that she doesn't still find challenges coming up, Audra 472 00:22:20,200 --> 00:22:23,680 Speaker 1: McDonald talks about a song that's been rather hard to sing. 473 00:22:24,880 --> 00:22:28,480 Speaker 1: Audra McDonald isn't the only star who struggled to find 474 00:22:28,520 --> 00:22:29,160 Speaker 1: her voice. 475 00:22:29,440 --> 00:22:31,880 Speaker 3: I mean when I tell people I was extremely shy 476 00:22:31,920 --> 00:22:32,800 Speaker 3: and nobody believes me. 477 00:22:32,840 --> 00:22:34,480 Speaker 1: Now that's the thing that people have to overcome. 478 00:22:34,960 --> 00:22:35,920 Speaker 2: Yes, exactly. 479 00:22:36,119 --> 00:22:37,879 Speaker 3: You know, I've found a lot of comedians to be 480 00:22:37,920 --> 00:22:43,360 Speaker 3: extraordinarily serious and draws withdrawn sometimes, So yeah, I think 481 00:22:43,400 --> 00:22:46,120 Speaker 3: sometimes we overcome things by going after the very thing 482 00:22:46,119 --> 00:22:47,200 Speaker 3: that really eludes us. 483 00:22:47,520 --> 00:22:51,280 Speaker 1: To hear more about Renee Fleming's story, go to Hear's 484 00:22:51,280 --> 00:22:56,800 Speaker 1: Thething dot org. This is Alec Baldwin and you're listening 485 00:22:56,880 --> 00:22:59,920 Speaker 1: to Here's the Thing. If ever there was a track 486 00:23:00,119 --> 00:23:05,720 Speaker 1: record that warranted dividum, it is Audra McDonald's. But despite 487 00:23:05,760 --> 00:23:10,400 Speaker 1: her unparalleled fame, the Queen of Broadway is disarmingly humble, 488 00:23:10,960 --> 00:23:14,320 Speaker 1: perhaps the mark of a person who's endured great pain 489 00:23:14,880 --> 00:23:18,960 Speaker 1: in her case. While studying at Juilliard, this. 490 00:23:18,880 --> 00:23:22,680 Speaker 2: Was my third year and it had been just yet 491 00:23:22,720 --> 00:23:26,320 Speaker 2: another year of floundering and doing poorly in all my classes, 492 00:23:26,440 --> 00:23:29,560 Speaker 2: and teachers just saying, you know, you've got to give 493 00:23:29,640 --> 00:23:32,560 Speaker 2: over to your operatic sound, and me not wanting to 494 00:23:32,800 --> 00:23:36,680 Speaker 2: not knowing what that was, and when I would get 495 00:23:36,680 --> 00:23:38,640 Speaker 2: close to an operatic sound, I'd say, I don't want 496 00:23:38,640 --> 00:23:41,119 Speaker 2: to sound like that. So I felt like I was 497 00:23:41,160 --> 00:23:44,520 Speaker 2: just being pushed and they were doing their job rightfully. 498 00:23:44,560 --> 00:23:46,359 Speaker 2: So this is like, this is your Juilliard to study. 499 00:23:46,400 --> 00:23:48,480 Speaker 2: This is what you're going to do to push me 500 00:23:48,560 --> 00:23:51,879 Speaker 2: into a place that just wasn't me artistically. So that 501 00:23:52,119 --> 00:23:55,080 Speaker 2: coupled with being you know, twenty twenty one by yourself 502 00:23:55,080 --> 00:23:59,600 Speaker 2: in New York and being treated poorly by whatever his 503 00:23:59,680 --> 00:24:06,960 Speaker 2: name was, what's his name? We're going to say that no, no, no, no, no, 504 00:24:07,000 --> 00:24:09,840 Speaker 2: he's he's fine. He's a great guy now, but at 505 00:24:09,840 --> 00:24:14,800 Speaker 2: any rate, So all of that combined with me being 506 00:24:14,840 --> 00:24:17,920 Speaker 2: sort of like the great hope from my hometown too. 507 00:24:18,040 --> 00:24:19,879 Speaker 2: You know, Order's gonna make it. If anybody's gonna make 508 00:24:19,880 --> 00:24:23,600 Speaker 2: it on Broadway, it's going to be Order. I I 509 00:24:23,680 --> 00:24:26,160 Speaker 2: the boy was the catalyst that sort of like sort 510 00:24:26,160 --> 00:24:27,399 Speaker 2: of broke that. It was a star that broke the 511 00:24:27,400 --> 00:24:31,159 Speaker 2: camel's back. But it was three years of I'm in 512 00:24:31,160 --> 00:24:33,880 Speaker 2: the wrong place, doing the wrong thing. I'm failing miserably, 513 00:24:34,600 --> 00:24:37,879 Speaker 2: but I'm here in Disneyland, where I'm supposed to be 514 00:24:37,880 --> 00:24:39,440 Speaker 2: where I said I wanted to be, so. 515 00:24:39,400 --> 00:24:44,240 Speaker 1: I sored you do I I slit my wrists one night? 516 00:24:45,040 --> 00:24:48,199 Speaker 1: What happened? And written about this? 517 00:24:48,280 --> 00:24:50,560 Speaker 2: I haven't. I guess I should. I speak about it 518 00:24:50,600 --> 00:24:52,920 Speaker 2: all the time, but maybe one day I'll write about it. 519 00:24:53,240 --> 00:24:57,000 Speaker 2: Found you, I I I slipped my wrists and then 520 00:24:57,480 --> 00:25:01,080 Speaker 2: realized what I had done and called the affairs director 521 00:25:01,160 --> 00:25:04,720 Speaker 2: who I had become close with, and said, I helped me, 522 00:25:05,240 --> 00:25:07,000 Speaker 2: and someone came and helped you. And they helped me, 523 00:25:07,000 --> 00:25:11,880 Speaker 2: and they took me to a mental hospital. It's interesting 524 00:25:11,920 --> 00:25:17,439 Speaker 2: this mental hospital still there, Gracie Square Hospital. It's next 525 00:25:17,440 --> 00:25:25,120 Speaker 2: door to my ob gyn who delivered my six month olds. 526 00:25:25,160 --> 00:25:28,040 Speaker 1: What a circuit that is. So I almost didn't make it, 527 00:25:28,040 --> 00:25:29,240 Speaker 1: and now I made it and I'm in this. 528 00:25:30,800 --> 00:25:32,480 Speaker 2: I had to pass it, you know, every week to 529 00:25:32,480 --> 00:25:34,639 Speaker 2: go to my obgyn appointment, I had to pass Gracie 530 00:25:34,680 --> 00:25:37,280 Speaker 2: Square Hospital. And every time I passed it, there was 531 00:25:37,280 --> 00:25:38,960 Speaker 2: a part of me just, you know, waddling down the 532 00:25:38,960 --> 00:25:42,280 Speaker 2: street pregnant as can be. Some twenty nine years later, 533 00:25:42,840 --> 00:25:47,399 Speaker 2: I would, I would. I felt such relief and joy 534 00:25:47,720 --> 00:25:52,040 Speaker 2: and you know a sense of yes, I get the 535 00:25:52,040 --> 00:25:52,560 Speaker 2: big picture. 536 00:25:52,600 --> 00:25:54,280 Speaker 1: Now what month in the school year was that that 537 00:25:54,400 --> 00:25:55,040 Speaker 1: that happened. 538 00:25:55,240 --> 00:25:56,960 Speaker 2: It was January or February. 539 00:25:56,680 --> 00:25:59,119 Speaker 1: So it was at the midpoint. Let's say, and you 540 00:25:59,240 --> 00:26:00,919 Speaker 1: take off obviously when you come back, when you come 541 00:26:00,960 --> 00:26:02,320 Speaker 1: back the following fall, you don't. 542 00:26:02,440 --> 00:26:06,240 Speaker 2: I came back the following fall for a little bit, 543 00:26:06,600 --> 00:26:11,080 Speaker 2: and then I got an opportunity to audition for something 544 00:26:11,200 --> 00:26:13,959 Speaker 2: that ended up that I ended up being the Secret 545 00:26:13,960 --> 00:26:18,840 Speaker 2: Garden actually, and I asked the you know, administration office 546 00:26:18,880 --> 00:26:21,280 Speaker 2: and my the dean, what I should do, and they said, 547 00:26:21,359 --> 00:26:24,840 Speaker 2: you know, go do that. It's okay, take the time 548 00:26:24,840 --> 00:26:26,880 Speaker 2: off to go do that. It seems like that's where 549 00:26:26,920 --> 00:26:27,560 Speaker 2: you want to be. 550 00:26:27,720 --> 00:26:31,000 Speaker 1: So and they probably didn't want to disappoint you. 551 00:26:31,240 --> 00:26:32,520 Speaker 2: At that point. At that point that. 552 00:26:32,560 --> 00:26:34,800 Speaker 1: Point they were like, sure, go go you want to 553 00:26:34,840 --> 00:26:35,360 Speaker 1: go sing. 554 00:26:35,200 --> 00:26:36,600 Speaker 2: On and go, go do it. 555 00:26:36,680 --> 00:26:38,320 Speaker 1: Yeah, we don't ever want to get your way. 556 00:26:38,520 --> 00:26:38,720 Speaker 5: You know. 557 00:26:38,880 --> 00:26:41,480 Speaker 2: The thing is there was actually a lot, not a lot, 558 00:26:41,520 --> 00:26:45,440 Speaker 2: but they had a special arrangement with Gracie Square Hospital. 559 00:26:45,440 --> 00:26:48,119 Speaker 2: There were a couple of other Juilliard students there that 560 00:26:48,280 --> 00:26:51,239 Speaker 2: I had wondered what had happened to I was there. 561 00:26:51,280 --> 00:26:53,000 Speaker 2: I was at the hospital for me, but Grace's Square 562 00:26:53,000 --> 00:26:54,560 Speaker 2: I think is private hospital. I was there for a month. 563 00:26:55,200 --> 00:26:58,680 Speaker 2: They evaluated me and said, you you're not going anytime soon? 564 00:26:59,760 --> 00:27:03,680 Speaker 2: And did that change you? I was so heavily medicated. 565 00:27:04,920 --> 00:27:06,359 Speaker 2: I was heavily medicated. 566 00:27:06,600 --> 00:27:10,080 Speaker 1: When you say that, it's so compelling to me because 567 00:27:10,080 --> 00:27:11,320 Speaker 1: when I see you, when I think of you, I 568 00:27:11,320 --> 00:27:14,280 Speaker 1: think of you like you know, you're so strong your 569 00:27:14,280 --> 00:27:16,680 Speaker 1: personality and perform I view you as a person that's 570 00:27:16,760 --> 00:27:17,159 Speaker 1: going to go. 571 00:27:17,320 --> 00:27:20,560 Speaker 2: I'm going back into the burning building to save the baby. 572 00:27:20,600 --> 00:27:23,159 Speaker 2: Well that is me now, yeah, but I think maybe 573 00:27:23,200 --> 00:27:27,240 Speaker 2: that experience helped make me that now. I mean, look, 574 00:27:27,440 --> 00:27:29,399 Speaker 2: I'm still a mess. I mean everybody's a mess, always 575 00:27:29,400 --> 00:27:31,480 Speaker 2: a mess, I you know, and I what I understood 576 00:27:31,840 --> 00:27:33,399 Speaker 2: a lot going on. Yeah, and I realized, you know, 577 00:27:33,400 --> 00:27:37,560 Speaker 2: I'm someone who suffers from depression. But I learned in 578 00:27:37,600 --> 00:27:39,439 Speaker 2: the years A how to deal with it. B to 579 00:27:39,480 --> 00:27:41,919 Speaker 2: find you know, find my joy and see to realize that, 580 00:27:42,160 --> 00:27:44,680 Speaker 2: like alcoholism, it's something that you wake up every day 581 00:27:44,680 --> 00:27:46,679 Speaker 2: and you say, yeah, that's still something that I have 582 00:27:46,800 --> 00:27:49,040 Speaker 2: to deal with, as opposed to saying, oh, I'm just 583 00:27:49,040 --> 00:27:51,359 Speaker 2: not depressed anymore. Just but to learn how to cope 584 00:27:51,359 --> 00:27:56,040 Speaker 2: with that, and my art gives me a lot of 585 00:27:56,200 --> 00:27:58,320 Speaker 2: joy and keeps me, keeps me strong. 586 00:27:58,560 --> 00:28:00,919 Speaker 1: So what's the first job you do? This is a 587 00:28:00,960 --> 00:28:02,919 Speaker 1: tired question, but I can't help back ask you, especially 588 00:28:02,960 --> 00:28:05,480 Speaker 1: with somebody like you, what's the first job when you do? 589 00:28:06,000 --> 00:28:08,000 Speaker 1: When you sit there and go I got this. I 590 00:28:08,000 --> 00:28:11,280 Speaker 1: think I got this, like I'm over the no no 591 00:28:11,320 --> 00:28:14,200 Speaker 1: meaning you know that the sky is the limit for you. 592 00:28:14,200 --> 00:28:16,640 Speaker 1: You're out there and you're doing it and you're connecting 593 00:28:16,640 --> 00:28:19,480 Speaker 1: to that material, you know, and you go, I think 594 00:28:19,480 --> 00:28:22,240 Speaker 1: I really really have a shot at my dream coming true. Here. 595 00:28:22,880 --> 00:28:25,720 Speaker 2: It was Sally Murphy and she was she was Julie Jordan, 596 00:28:25,720 --> 00:28:27,760 Speaker 2: and I played Carry Pippridge and it was the guy 597 00:28:28,000 --> 00:28:31,720 Speaker 2: Michael Hayden was with Hayden, Yes, yes, yes, Nick Heitner 598 00:28:31,720 --> 00:28:34,280 Speaker 2: at Lincoln Center, which is also crazy for me to 599 00:28:34,359 --> 00:28:39,240 Speaker 2: then open, you know, in Carousel at Lincoln Center, where 600 00:28:39,560 --> 00:28:42,080 Speaker 2: at Vivian Momont Theater where you can look up and 601 00:28:42,120 --> 00:28:45,040 Speaker 2: I can see the school that I, you know, had 602 00:28:45,080 --> 00:28:48,560 Speaker 2: a hard time in and and I remember standing in 603 00:28:48,600 --> 00:28:52,880 Speaker 2: those in those windows at Juilliard looking at Vivian Beaumont, 604 00:28:52,880 --> 00:28:55,520 Speaker 2: seeing Patty Lapone performing there and going why am I 605 00:28:55,560 --> 00:29:05,520 Speaker 2: not doing that? And then how'd you feel like the 606 00:29:05,600 --> 00:29:09,120 Speaker 2: luckiest survivor in the world. I mean, and I felt 607 00:29:09,160 --> 00:29:13,600 Speaker 2: a sense of gratitude, a sense of relief, and a 608 00:29:13,680 --> 00:29:17,640 Speaker 2: sense of Okay, I get it. I now get that 609 00:29:17,760 --> 00:29:19,000 Speaker 2: I was on my path. 610 00:29:19,800 --> 00:29:22,880 Speaker 1: Out the window of one place is your future. Out 611 00:29:22,880 --> 00:29:25,760 Speaker 1: the window of Juilliard where you try to snuff yourself 612 00:29:26,280 --> 00:29:28,640 Speaker 1: is the Vivian Beaumont, where you're going to do carousel 613 00:29:29,040 --> 00:29:31,200 Speaker 1: across the streets, always a vista for you. What might 614 00:29:31,240 --> 00:29:36,360 Speaker 1: have been was, which was something not bad and wonderful? Yeah, 615 00:29:36,400 --> 00:29:38,959 Speaker 1: I mean babies and Tony Awards and all that stuff. 616 00:29:39,040 --> 00:29:40,800 Speaker 2: I think, I think what I realized is there's a 617 00:29:40,840 --> 00:29:43,600 Speaker 2: bigger picture. And I think, you know, it's very easy to, 618 00:29:43,720 --> 00:29:45,800 Speaker 2: you know, just get into tunnel vision, especially when you're 619 00:29:45,800 --> 00:29:48,640 Speaker 2: young and you know it's only you that you're having 620 00:29:48,680 --> 00:29:50,360 Speaker 2: to think about and not but that's a bad thing. 621 00:29:50,440 --> 00:29:55,960 Speaker 2: But it's just easy to get buried very quickly under 622 00:29:56,080 --> 00:30:00,920 Speaker 2: emotion and fear and disappointment and all that. And I 623 00:30:01,000 --> 00:30:03,400 Speaker 2: just think that I learned to have a bigger picture 624 00:30:03,640 --> 00:30:05,000 Speaker 2: about life. 625 00:30:05,680 --> 00:30:10,000 Speaker 1: We're taking a break, so stay with us. Once you 626 00:30:10,080 --> 00:30:13,640 Speaker 1: become extraordinarily successful in the busin you won your first 627 00:30:13,640 --> 00:30:16,320 Speaker 1: Tony Award, for what show Carousel? And you're how old? 628 00:30:16,600 --> 00:30:17,240 Speaker 2: Twenty three? 629 00:30:17,640 --> 00:30:20,680 Speaker 1: Your child and you when you you were fresh out 630 00:30:20,720 --> 00:30:22,400 Speaker 1: of that situation, you weren't far that far we move 631 00:30:22,440 --> 00:30:23,080 Speaker 1: from that situation. 632 00:30:23,320 --> 00:30:24,480 Speaker 2: Was two and a half years away from. 633 00:30:24,360 --> 00:30:26,640 Speaker 1: That situation and a half years later, which is nothing. Yeah, 634 00:30:26,800 --> 00:30:29,720 Speaker 1: you win a Tony Award and you've won six Tony Awards. Yes, 635 00:30:29,880 --> 00:30:31,560 Speaker 1: you won the most Tony Awards of anybody. Are you 636 00:30:31,640 --> 00:30:33,360 Speaker 1: tied with somebody you're tied with? 637 00:30:33,560 --> 00:30:37,040 Speaker 2: No? Not with that. 638 00:30:39,480 --> 00:30:41,320 Speaker 1: No, I love. I love when people sit there and 639 00:30:41,320 --> 00:30:43,040 Speaker 1: they go, oh, I don't know. I don't keep track 640 00:30:43,080 --> 00:30:45,120 Speaker 1: of that. I go, you liar, you got all your 641 00:30:45,160 --> 00:30:46,080 Speaker 1: Tonies lined up? 642 00:30:46,400 --> 00:30:46,680 Speaker 2: They do. 643 00:30:47,640 --> 00:30:49,720 Speaker 1: No, I'm not you. I'm saying but people in general, 644 00:30:50,640 --> 00:30:52,959 Speaker 1: I doubt you do to actually but to embarrass you 645 00:30:53,000 --> 00:30:55,840 Speaker 1: even more than I already have. Good God, you are 646 00:30:56,000 --> 00:30:59,400 Speaker 1: enormously talented and everything clicks, and you're very, very successful, 647 00:30:59,480 --> 00:31:02,440 Speaker 1: and you're a gorgeous woman. Well you're a gorgeous woman. 648 00:31:02,960 --> 00:31:05,640 Speaker 1: And what did that do in terms of your career, 649 00:31:05,880 --> 00:31:08,360 Speaker 1: meaning that you could have gone and made films and 650 00:31:08,360 --> 00:31:10,520 Speaker 1: then a television series. Did you have a lot of 651 00:31:10,520 --> 00:31:12,280 Speaker 1: offers you swept aside? 652 00:31:12,440 --> 00:31:14,880 Speaker 2: No, I've never had those offers. I mean, I did 653 00:31:14,920 --> 00:31:17,680 Speaker 2: one television series once where I played the best friend 654 00:31:18,040 --> 00:31:22,440 Speaker 2: in Private Practice to the main character show Private Practice, 655 00:31:23,640 --> 00:31:27,160 Speaker 2: Kate Walsh played Addison Montgomery and I played her best friend. 656 00:31:27,160 --> 00:31:27,640 Speaker 1: Did you do that? 657 00:31:28,040 --> 00:31:30,120 Speaker 2: I did it for five six years. The show ran 658 00:31:30,160 --> 00:31:31,600 Speaker 2: for seven years, and I did it for five or 659 00:31:31,640 --> 00:31:35,280 Speaker 2: six years. But no, Hollywood has never really banged down 660 00:31:35,280 --> 00:31:38,200 Speaker 2: on my doors. And I think that's because you're very 661 00:31:38,280 --> 00:31:40,400 Speaker 2: kind to say I'm gorgeous, but I don't think I'm 662 00:31:40,440 --> 00:31:44,840 Speaker 2: the typical sort of Look. I'm also a big girl, 663 00:31:44,920 --> 00:31:47,000 Speaker 2: and I'm proud of that, and I'm fine with that. 664 00:31:47,160 --> 00:31:50,160 Speaker 2: But you know, it's interesting when you go to Hollywood 665 00:31:50,160 --> 00:31:52,000 Speaker 2: and you see these people on the movie screens your 666 00:31:52,080 --> 00:31:53,480 Speaker 2: entire life, and then you see them in person and 667 00:31:53,480 --> 00:31:55,360 Speaker 2: they're all like one fourth. 668 00:31:55,040 --> 00:31:59,080 Speaker 1: Of that taper airplay. What the hell didn't look well? 669 00:32:00,320 --> 00:32:01,640 Speaker 2: Do you want a cheeseburger? 670 00:32:01,760 --> 00:32:02,000 Speaker 1: Yeah? 671 00:32:02,080 --> 00:32:03,760 Speaker 2: No, no, no, I mean it's saying look terrible, but it's 672 00:32:03,800 --> 00:32:05,280 Speaker 2: just for me. It's just like I you know, I 673 00:32:05,280 --> 00:32:07,080 Speaker 2: think size wise that has something to do with it. 674 00:32:07,120 --> 00:32:10,080 Speaker 2: And I and I don't know that that's where I'm 675 00:32:10,280 --> 00:32:13,480 Speaker 2: at my strongest, right, you know, And I think it works. 676 00:32:13,280 --> 00:32:16,560 Speaker 1: So hard to develop this perch you're in. Now, what's 677 00:32:16,600 --> 00:32:18,320 Speaker 1: that like for you to have to go out and 678 00:32:18,360 --> 00:32:19,680 Speaker 1: wring yourself out. 679 00:32:20,000 --> 00:32:22,640 Speaker 2: Again and again every night. Well, the process for me, 680 00:32:22,800 --> 00:32:26,920 Speaker 2: I go really inside. I get really quiet. People around 681 00:32:27,000 --> 00:32:29,720 Speaker 2: me think that I'm angry with them before I do 682 00:32:29,800 --> 00:32:31,760 Speaker 2: a show because I just get very quiet and I 683 00:32:31,840 --> 00:32:35,400 Speaker 2: go inside and stay still, and I'm not. I'm not 684 00:32:35,440 --> 00:32:37,160 Speaker 2: one to kind of jump around and go visit other 685 00:32:37,240 --> 00:32:39,560 Speaker 2: dressing rooms. I just I have to kind of go 686 00:32:39,680 --> 00:32:43,840 Speaker 2: in and be super super super quiet and still because focus. Yeah, 687 00:32:43,840 --> 00:32:45,800 Speaker 2: because in a minute, you're going to have to turn 688 00:32:45,880 --> 00:32:48,400 Speaker 2: all of your insides out, and so if I'm giving 689 00:32:48,440 --> 00:32:50,840 Speaker 2: all that out beforehand, I will have nothing to get. 690 00:32:50,960 --> 00:32:52,240 Speaker 1: What was one of the hardest ones for you. 691 00:32:52,320 --> 00:32:55,200 Speaker 2: Lady Day Absolutely that was by myself on stage for 692 00:32:55,280 --> 00:32:57,920 Speaker 2: an hour and forty five minutes, just having to give 693 00:32:57,960 --> 00:33:01,520 Speaker 2: it and especially living that life that she led. I 694 00:33:01,560 --> 00:33:03,400 Speaker 2: have to have to live that on stage every night. 695 00:33:04,280 --> 00:33:06,960 Speaker 2: That I was no fun to be around before the show. 696 00:33:07,000 --> 00:33:08,440 Speaker 2: After the show, I was a ball. 697 00:33:09,680 --> 00:33:10,640 Speaker 1: Because that's very common. 698 00:33:10,800 --> 00:33:13,240 Speaker 2: Yes, because I was thrilled it was over until the 699 00:33:13,240 --> 00:33:15,240 Speaker 2: next you know, it's interesting. I know I can't remember 700 00:33:15,240 --> 00:33:17,520 Speaker 2: who oh maybe it was Kathy Bates. I can't remember 701 00:33:17,520 --> 00:33:19,200 Speaker 2: who said this to me, but I said, well, why 702 00:33:19,200 --> 00:33:21,000 Speaker 2: don't you ever come back to Broadway or do a 703 00:33:21,040 --> 00:33:22,680 Speaker 2: show on Broadway? And I think it was Kathy Bage. 704 00:33:22,680 --> 00:33:26,479 Speaker 2: She said, oh, honey, oh that's hard. It's hard, and 705 00:33:26,520 --> 00:33:29,600 Speaker 2: she's right, you know it is, because especially when you think, Okay, 706 00:33:29,600 --> 00:33:31,720 Speaker 2: I've done it, I've given a good performance. I got 707 00:33:31,760 --> 00:33:34,480 Speaker 2: through that. You know, when you're doing a film, you're like, great, 708 00:33:34,520 --> 00:33:36,680 Speaker 2: it's in the can, and now I'm off to Cabo 709 00:33:36,840 --> 00:33:40,080 Speaker 2: or whatever, you know. But Broadway it's like, and now 710 00:33:40,120 --> 00:33:42,800 Speaker 2: I have to do that again tomorrow night, and then 711 00:33:42,840 --> 00:33:44,320 Speaker 2: the next night after that and the next and it's 712 00:33:44,320 --> 00:33:44,800 Speaker 2: a blessing. 713 00:33:44,880 --> 00:33:46,160 Speaker 1: At the end of every day. I got to go 714 00:33:46,200 --> 00:33:48,720 Speaker 1: to work exactly, you have that whole day and what 715 00:33:48,840 --> 00:33:50,920 Speaker 1: happens in that in the world. The worst thing for 716 00:33:51,000 --> 00:33:53,000 Speaker 1: me when I was acting was when I'd have a wonderful, 717 00:33:53,040 --> 00:33:55,240 Speaker 1: fun day and then I had to go to work 718 00:33:55,280 --> 00:33:57,120 Speaker 1: and wring myself out and some drive to go do 719 00:33:57,240 --> 00:33:58,120 Speaker 1: the Scottish play. 720 00:33:58,280 --> 00:34:01,120 Speaker 2: Yes, for me, it was always on Sunday matinee. When 721 00:34:01,160 --> 00:34:03,760 Speaker 2: you're headed to your Sunday matinee, you're walking down ninth 722 00:34:03,760 --> 00:34:06,719 Speaker 2: Fablue and you're seeing everybody outside, either out of street 723 00:34:06,760 --> 00:34:08,720 Speaker 2: fair or having wine and runch. 724 00:34:09,120 --> 00:34:09,319 Speaker 1: Yeah. 725 00:34:09,360 --> 00:34:11,439 Speaker 2: And I can't tell you how many in the sun. 726 00:34:11,480 --> 00:34:12,919 Speaker 2: I can't redly tell you how many times you're walking 727 00:34:12,920 --> 00:34:14,359 Speaker 2: down ninth Faber you just want to take your hand 728 00:34:14,440 --> 00:34:17,240 Speaker 2: and wipe all the food off of those sidewalk tables. 729 00:34:17,239 --> 00:34:19,520 Speaker 2: It's like, that's not fair, of course not. I mean, 730 00:34:19,520 --> 00:34:21,600 Speaker 2: it's I'm doing what I wanted to do my entire life. 731 00:34:21,680 --> 00:34:24,720 Speaker 1: But there is that people are counting on you. Yes, amazing. 732 00:34:25,480 --> 00:34:27,560 Speaker 1: When I did Street Car, I got really sick and 733 00:34:27,600 --> 00:34:28,960 Speaker 1: I missed the show. I was at for it for 734 00:34:29,000 --> 00:34:31,920 Speaker 1: a weekend, the two Saturdays and the Sunday, and I 735 00:34:31,960 --> 00:34:34,920 Speaker 1: missed the show. But I go downstairs. I lived on 736 00:34:34,960 --> 00:34:37,720 Speaker 1: Central Park West. I go downstairs. I cross over to Broadway. 737 00:34:37,800 --> 00:34:40,600 Speaker 1: I'm on eighty sixth and Broadway on the northeast corner. 738 00:34:40,640 --> 00:34:41,520 Speaker 1: I'm going to cross over. 739 00:34:41,400 --> 00:34:44,120 Speaker 2: To William's Chicken Yes, and get my soup. Yes. 740 00:34:44,360 --> 00:34:46,160 Speaker 1: And I'm there and this little woman looks up to me. 741 00:34:46,200 --> 00:34:48,239 Speaker 1: It's like seven o'clock at night. It's a it's a 742 00:34:48,280 --> 00:34:50,839 Speaker 1: Friday night or a Saturday night rather, and she looks 743 00:34:50,880 --> 00:34:53,200 Speaker 1: up at me, this little owlish woman. She goes, aren't 744 00:34:53,200 --> 00:34:57,800 Speaker 1: you supposed to be on Broadway right now? I thought, 745 00:34:58,239 --> 00:35:00,600 Speaker 1: it's town with them down. 746 00:35:00,760 --> 00:35:03,120 Speaker 2: I have a story like that too. I mean, we 747 00:35:03,120 --> 00:35:05,960 Speaker 2: were it was New Year's Eve and Ethan Hawk had 748 00:35:06,320 --> 00:35:08,360 Speaker 2: been able to we were doing Henry the Fourth at 749 00:35:08,400 --> 00:35:10,279 Speaker 2: Lincoln Center, and he'd been able to get the entire 750 00:35:10,320 --> 00:35:13,200 Speaker 2: cast invited to the plays and Players Club or a 751 00:35:13,360 --> 00:35:16,000 Speaker 2: what's that club over on the Players Club? Yes, for 752 00:35:16,040 --> 00:35:17,759 Speaker 2: New Year's Eve. So we're all there and we're all 753 00:35:17,800 --> 00:35:19,960 Speaker 2: celebrating and it's wonderful, but we're, you know, in and 754 00:35:19,960 --> 00:35:22,960 Speaker 2: amongst you know, the actual members of this club. And 755 00:35:23,040 --> 00:35:25,560 Speaker 2: it's New Year's Eve and I'm doing a play. And 756 00:35:25,600 --> 00:35:28,400 Speaker 2: I was still young, and I thought, I'm gonna have 757 00:35:28,440 --> 00:35:31,560 Speaker 2: a cigarette, you know, why not, I'm gonna have a cigarette. 758 00:35:32,480 --> 00:35:35,160 Speaker 2: And I don't smoke as a rule, but I just 759 00:35:35,200 --> 00:35:36,920 Speaker 2: decided it's New Year's Eve, I'm gonna have wine and 760 00:35:36,920 --> 00:35:39,359 Speaker 2: cigarettes and it'll be fun. So I was smoking out 761 00:35:39,360 --> 00:35:42,200 Speaker 2: on the little terrorists they have out there. I'm smoking 762 00:35:42,200 --> 00:35:44,200 Speaker 2: my cigarette. I'm chatting with some of my cast members, 763 00:35:44,239 --> 00:35:47,000 Speaker 2: and an older woman who's a member of the Playla's club. 764 00:35:47,400 --> 00:35:49,839 Speaker 2: She comes up to me, and she said, I'd say 765 00:35:49,880 --> 00:35:52,960 Speaker 2: you're Audra McDonald, but it couldn't possibly be hev because 766 00:35:53,000 --> 00:35:58,360 Speaker 2: she wouldn't be smoking, never destroying her instrument. She wouldn't 767 00:35:58,400 --> 00:36:02,040 Speaker 2: be smoking. And then she just sort of march, Now. 768 00:36:01,960 --> 00:36:06,240 Speaker 1: Who are people who in your life? In your career? 769 00:36:06,280 --> 00:36:09,880 Speaker 1: One might assume you've sung the song, sang the songs 770 00:36:10,320 --> 00:36:12,360 Speaker 1: of pretty much everyone you want to sing. Where is 771 00:36:12,360 --> 00:36:14,440 Speaker 1: there one that's gotten by you? Is there some composer 772 00:36:14,480 --> 00:36:16,399 Speaker 1: whose music you want to sing that you haven't sang? 773 00:36:16,640 --> 00:36:18,480 Speaker 2: No, I wouldn't say that. I mean there's always young. 774 00:36:19,000 --> 00:36:21,240 Speaker 2: I am always championed the work of new young musical 775 00:36:21,280 --> 00:36:23,759 Speaker 2: theater composers, so I'm always looking for new work to do. 776 00:36:24,160 --> 00:36:28,040 Speaker 2: There are certain songs that I stay away from because 777 00:36:28,080 --> 00:36:31,080 Speaker 2: I don't feel that I can do them properly. For example, 778 00:36:32,520 --> 00:36:34,360 Speaker 2: one that I have not been able to conquer that 779 00:36:34,400 --> 00:36:36,040 Speaker 2: I have tried a couple of times and never done 780 00:36:36,080 --> 00:36:38,120 Speaker 2: in public because I can't conquer it is being Alive 781 00:36:38,360 --> 00:36:41,680 Speaker 2: by Son Tim. I cannot. As much as that song 782 00:36:41,760 --> 00:36:43,600 Speaker 2: moves me and as much as it means to me, 783 00:36:44,040 --> 00:36:46,920 Speaker 2: every time I try and sing it, I fail. So 784 00:36:47,040 --> 00:36:49,400 Speaker 2: I have not done it in public and I, and 785 00:36:49,440 --> 00:36:51,920 Speaker 2: I won't until I figure it out. And that is 786 00:36:51,960 --> 00:36:52,440 Speaker 2: that strange? 787 00:36:52,480 --> 00:36:55,800 Speaker 1: It is No, No, I mean, I'm sure there's people. 788 00:36:55,960 --> 00:36:58,560 Speaker 1: It's like in plays. I mean, I'm trying to roles. 789 00:36:58,800 --> 00:36:59,839 Speaker 1: I'm trying to think of. Right. 790 00:37:00,880 --> 00:37:03,040 Speaker 2: Do you have writers whose work you steer clear of 791 00:37:03,120 --> 00:37:06,320 Speaker 2: as a performer because you don't get it so you 792 00:37:06,320 --> 00:37:08,360 Speaker 2: don't know how to bring it to life. Not that 793 00:37:08,400 --> 00:37:09,640 Speaker 2: you don't enjoy watching. 794 00:37:10,200 --> 00:37:12,680 Speaker 1: I might enjoy watching, you know, whatever. I want to 795 00:37:12,719 --> 00:37:15,200 Speaker 1: have in the theater. Life itself is so filled with 796 00:37:15,640 --> 00:37:19,360 Speaker 1: oddities now and surreal crap going on with the government 797 00:37:19,360 --> 00:37:21,640 Speaker 1: and everything. I want to see something which is really 798 00:37:22,080 --> 00:37:24,080 Speaker 1: I want some honesty. No, I need to have a 799 00:37:24,360 --> 00:37:26,120 Speaker 1: like oxygen. I need a big hit of honesty. 800 00:37:26,320 --> 00:37:28,080 Speaker 2: I you know, that's interesting. I was listening to a 801 00:37:28,120 --> 00:37:30,680 Speaker 2: performer on the way down here who i'd absolutely admire, 802 00:37:30,680 --> 00:37:32,560 Speaker 2: whose work I admire, and they were singing a song 803 00:37:32,640 --> 00:37:35,160 Speaker 2: that didn't, in my mind, seem quite right for them. 804 00:37:36,040 --> 00:37:38,120 Speaker 2: Not that they weren't singing it beautifully, but I thought, 805 00:37:38,560 --> 00:37:41,680 Speaker 2: I don't think they believe this. I don't. I think 806 00:37:41,680 --> 00:37:44,960 Speaker 2: they're trying something and they don't believe it. And there's 807 00:37:44,960 --> 00:37:47,000 Speaker 2: a part of me that thought, why am I thinking 808 00:37:47,040 --> 00:37:49,320 Speaker 2: that about them? I do that stuff all the time. 809 00:37:49,360 --> 00:37:51,399 Speaker 2: But I think you're right. There is something going on 810 00:37:51,480 --> 00:37:53,680 Speaker 2: right now in the zeitgeist that is sort of like 811 00:37:54,320 --> 00:37:57,760 Speaker 2: everybody is needing truth and needing needing something to ground 812 00:37:57,800 --> 00:37:59,120 Speaker 2: them and where is reality? 813 00:37:59,160 --> 00:38:02,400 Speaker 1: Any sat tire? And my last question for you is, well, 814 00:38:02,400 --> 00:38:05,200 Speaker 1: first of all, describe for me if you would, as 815 00:38:05,239 --> 00:38:07,880 Speaker 1: I try to always think about people in your profession 816 00:38:07,920 --> 00:38:10,200 Speaker 1: and who do what you do as well as you 817 00:38:10,280 --> 00:38:12,960 Speaker 1: do a moment when you're on stage and you used 818 00:38:13,000 --> 00:38:14,719 Speaker 1: to go out there at night and you'd sing a 819 00:38:14,719 --> 00:38:16,840 Speaker 1: song and you knew you were going to kill these people, 820 00:38:17,320 --> 00:38:20,160 Speaker 1: you know, the minute that you sang that song, the 821 00:38:20,200 --> 00:38:22,320 Speaker 1: way you said that you could almost feel the people 822 00:38:22,400 --> 00:38:25,080 Speaker 1: just getting destroyed by that song. Is that an a 823 00:38:25,160 --> 00:38:25,919 Speaker 1: Lady Day as well? 824 00:38:26,080 --> 00:38:29,040 Speaker 2: Well? I think in the beginning with Lady Day, because 825 00:38:29,080 --> 00:38:32,040 Speaker 2: I think no one thought that I could find her voice, 826 00:38:32,440 --> 00:38:34,440 Speaker 2: you know, because I'm a soprano. So it's like, what 827 00:38:34,480 --> 00:38:37,440 Speaker 2: are you doing? What's the soprano doing Lady Day? You know, 828 00:38:37,480 --> 00:38:39,680 Speaker 2: trying to be Billie Holiday. She doesn't have it in 829 00:38:39,719 --> 00:38:41,319 Speaker 2: her and I didn't think I had it in me. 830 00:38:41,400 --> 00:38:45,080 Speaker 2: And so some nights you know, the show opens and 831 00:38:45,120 --> 00:38:46,960 Speaker 2: the first thing I do is sing before I even 832 00:38:46,960 --> 00:38:49,000 Speaker 2: start speaking, and so the audience and you can tell 833 00:38:49,040 --> 00:38:51,359 Speaker 2: that the audience is waiting to hear is she going 834 00:38:51,400 --> 00:38:54,799 Speaker 2: to get it? And on nights that I really felt 835 00:38:54,840 --> 00:38:58,600 Speaker 2: that I was really lined up, really lined up with Billy. 836 00:38:58,680 --> 00:39:01,880 Speaker 2: I had I had enough, you know, of her perfume on, 837 00:39:02,040 --> 00:39:03,880 Speaker 2: and I had the makeup right, and I had the 838 00:39:03,920 --> 00:39:06,719 Speaker 2: gin behind my ears so I could smell like what 839 00:39:06,840 --> 00:39:09,320 Speaker 2: she must have smelled like in those days. And I 840 00:39:09,320 --> 00:39:11,880 Speaker 2: would open my mouth and sing the first all I 841 00:39:12,000 --> 00:39:15,520 Speaker 2: know is I'm in love with you, and you'd hear 842 00:39:15,680 --> 00:39:18,479 Speaker 2: sometimes i'd hear the audience gasp, and that's when I'd 843 00:39:18,480 --> 00:39:22,120 Speaker 2: be like, Okay, I got that right now. Sustain it 844 00:39:22,120 --> 00:39:23,960 Speaker 2: for the next hour and forty five minutes, you know, 845 00:39:24,040 --> 00:39:27,719 Speaker 2: and I'd feel that, I'd think, Okay, they're they're taking 846 00:39:27,719 --> 00:39:29,239 Speaker 2: the journey with me. And there were nights where that 847 00:39:29,280 --> 00:39:31,920 Speaker 2: wouldn't happen. I'd think, Okay, I got a drag them 848 00:39:31,920 --> 00:39:33,800 Speaker 2: on this journey too, you know. But every once in 849 00:39:33,840 --> 00:39:36,440 Speaker 2: a while there'd be that moment of and every once 850 00:39:36,480 --> 00:39:39,600 Speaker 2: in a while to hear people go oh my god, ah, 851 00:39:39,800 --> 00:39:45,560 Speaker 2: and no is I'm in low. 852 00:39:49,400 --> 00:39:56,120 Speaker 5: Ye in there. You said that we are through. I 853 00:39:56,400 --> 00:40:07,640 Speaker 5: know that that should lad a yes, care go. I Wonderalah. 854 00:40:07,880 --> 00:40:09,440 Speaker 4: Has gone. 855 00:40:10,960 --> 00:40:14,360 Speaker 1: The final line of a review from The Evening Standard 856 00:40:14,880 --> 00:40:18,480 Speaker 1: for her recent West End debut as Billie Holiday doubles 857 00:40:18,800 --> 00:40:23,200 Speaker 1: as a review of Audra herself quote yet still she 858 00:40:23,320 --> 00:40:29,440 Speaker 1: stands broken but indomitable to the last unquote. I'm Alec Baldwin. 859 00:40:29,760 --> 00:40:32,640 Speaker 1: Here's the thing. Is brought to you by iHeart Radio.