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Speaker 1: This is Alec Baldwin and you're listening to Here's the

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Speaker 1: Thing from iHeart Radio. According to the online Urban Dictionary,

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Speaker 1: today's guest has become a verb. To LuPone is quote

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Speaker 1: to give an outstanding theatrical performance, to make an audience

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Speaker 1: revel in, open mouthed awe at your unparalleled brilliance. Unquote.

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Speaker 2: Don't cry for me, gentlea. The truth is I never

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Speaker 2: left you.

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Speaker 3: All through my wild days, my mad existence, I kept

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Speaker 3: my promise.

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Speaker 2: Dorge your dist.

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Speaker 1: Patty Lapone has twenty six Broadway credits to date and

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Speaker 1: has won two Tony's, one for Evida and one for

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Speaker 1: Gypsy in London. She originated the role of Norma Desmond

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Speaker 1: in Sunset Boulevard and Fantine in Les Miserabla, for which

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Speaker 1: she won an Olivier Award. She's worked in film and

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Speaker 1: on television, most notably as the mom on the ABC

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Speaker 1: drama Life Goes On. Before all this success, Patty was

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Speaker 1: in the first class of the Drama Division at Juilliard

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Speaker 1: in nineteen sixty eight, which seems like a reasonable place

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Speaker 1: to start dreaming of a career in the theater. But

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Speaker 1: Patty Lapone's story really begins even earlier.

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Speaker 4: I knew when I was a kid that I had

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Speaker 4: a Broadway voice. I wanted to be a rocker because

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Speaker 4: I grew up in that era of transistor radios at

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Speaker 4: the beach, you know, the rascals. We started in the fifties,

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Speaker 4: Little Anthony in the Imperials. I mean, all through the

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Speaker 4: fifties and sixties and seventies, I knew I didn't have

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Speaker 4: a rock voice. Though I knew I had a Broadway voice.

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Speaker 2: This is all.

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Speaker 4: Instinctual behavior, completely instinctual behavior. And my mom listened to

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Speaker 4: opera and my dad listened to jazz.

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Speaker 1: What did he do?

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Speaker 4: He was a principal of an lamentary school on Long

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Speaker 4: Island in Northport, and my mom was a housewife, a homemaker.

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Speaker 1: How many kids in your family?

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Speaker 4: Twin brothers and me, you know, typical in a ranch

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Speaker 4: house on Long Island, right, typical. I know the drum, yeah, exactly.

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Speaker 4: And I was enrolled in dance at four years old,

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Speaker 4: and I fell in love with the stage. But that

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Speaker 4: wasn't really the first inkling of some sort of connection

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Speaker 4: to the stage. My mother used to troop me out

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Speaker 4: in front of guests to do my Marilyn Monroe imitation,

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Speaker 4: and I don't even know how I came up with this,

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Speaker 4: but I would come out, they'd laugh, and I'd go, oh,

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Speaker 4: this is cool. Like you know I was. I was

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Speaker 4: pretty astute when I was very very young, pretty. So

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Speaker 4: I started dancing, and I fell in love with the audience,

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Speaker 4: and so the performance aspect started very very young in dance.

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Speaker 4: When Julliard happened, well, my brother attended the dance division

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Speaker 4: of the Juilliard School and told me that they were

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Speaker 4: starting a drama division. I actually had moved into New

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Speaker 4: York City and was auditioning for musicals and working, and

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Speaker 4: I just wanted to be in musicals and hang out

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Speaker 4: in New York City and party. And I auditioned and

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Speaker 4: I got in. And what happened in the four years

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Speaker 4: the course of the four years of the Juilliard School,

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Speaker 4: I fell out of love with musical and in love

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Speaker 4: with classical theater. And I was actually trained as a

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Speaker 4: classical actress. So we did know a lot of other

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Speaker 4: great classical actress Yes, Kevin Klein, David Steyers, David Shram,

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Speaker 4: Mary Louisatto, and then of course the classes below me

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Speaker 4: have gained more recognition than my class did. We were

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Speaker 4: the very first class.

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Speaker 1: But that girl from Northport who's doing Marilyn Monroe impersonations

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Speaker 1: in the ranch house with your family, what's that like

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Speaker 1: for you that transitioned to be in that very heady, sophisticated.

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Speaker 4: With Well, it was tough for me because I was

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Speaker 4: not a favorite at school. My best friend, who I

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Speaker 4: met in the first year, Nancy Nichols, was a favorite

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Speaker 4: and I was not. But Nancy and I would always

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Speaker 4: palle around together and make trouble, but Nancy would get

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Speaker 4: the roles and I would not. And that went on

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Speaker 4: for several years. I think it was only my third

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Speaker 4: year when I realized that they were trying to throw

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Speaker 4: me out of school. And what they did. They couldn't

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Speaker 4: throw me up because they didn't like my personality. But

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Speaker 4: what they did was they through every conceivable role in

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Speaker 4: my direction to make me fail as an actor. But

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Speaker 4: what happened was they that they didn't belong. Yeah, they

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Speaker 4: didn't like me. They or you know, I didn't get cut.

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Speaker 4: Every year students got cut, So we started with they

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Speaker 4: wanted to years. We ended up with the seventeen of

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Speaker 4: the original thirty six. In the fourth year. I never

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Speaker 4: got cut. So I'm confused as to why that actually happened,

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Speaker 4: because why didn't they just cut me? Possibly because every

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Speaker 4: role I played I succeeded in. But what they did

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Speaker 4: was they trained one actor in my class and versatility,

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Speaker 4: and the rest of them were pigeonholed, as you know,

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Speaker 4: life will pigeonhole you into exactly the sub brett, the

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Speaker 4: leading lady, the character woman. But I went back and forth,

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Speaker 4: back and forth, back and forth, which taught me that

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Speaker 4: I could.

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Speaker 1: There were no boundaries, no, and if you look.

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Speaker 4: At my history, I've done more plays than i've done musicals.

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Speaker 4: But because I guess the voice is a powerful instrument,

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Speaker 4: do you know what I mean? And it's an American

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Speaker 4: cultural event, the American broad the musical, not the Broadway.

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Speaker 1: Well, also the music that you've performed when someone is

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Speaker 1: as successful as you, And I've said this to people

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Speaker 1: who have careers of music beyond the theater, as leading

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Speaker 1: actresses in the theater. Music distinguishes things because it's a

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Speaker 1: product you can consume anywhere. You know, your career goes

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Speaker 1: to another level when I can drive in my car

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Speaker 1: and listen to the soundtracks.

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Speaker 4: When anything goes I never thought about that I can.

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Speaker 1: Be on the beach and I can listen to the

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Speaker 1: soundtrack from Sweeney Todd music. Performers will always have the

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Speaker 1: upper hand on actors. But you were saying, how the

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Speaker 1: versatility thing. You were almost forced to embrace this versatility

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Speaker 1: to survive. And you graduate from that program the first

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Speaker 1: class graduates.

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Speaker 4: What year nineteen seventy two and where do you go?

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Speaker 4: John Housman in our third year, he presented a season

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Speaker 4: to the prominent people in New York theater and critics,

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Speaker 4: and mel Gusa was the one that said. Mel Gusa

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Speaker 4: was a second string critic for the New York Times,

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Speaker 4: and he was the one that said, why break this

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Speaker 4: company up? Why not form a permanent acting company? Which

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Speaker 4: was John's q. And when we graduated, he handed us

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Speaker 4: our equity card and four years. But we stayed for

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Speaker 4: four years of touring the country performing classical plays in

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Speaker 4: true revolving rep which is a different play every single night.

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Speaker 4: So we got even more training because in our first

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Speaker 4: year we lost several bookings because we didn't know how

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Speaker 4: to tour, We didn't know how to maintain a performance.

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Speaker 4: We only did three at Juilliard and we had no

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Speaker 4: idea what happened on the fourth and that sounds crazy,

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Speaker 4: but it's we lost.

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Speaker 1: Do you think this acting company idea and the touring

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Speaker 1: was what Hausman had up asleeve the whole time when

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Speaker 1: he instigated the Juilliard program, No, I.

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Speaker 4: Don't think so. You know, the training was intense and

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Speaker 4: emotionally intense, psychologically intense, physically intense. By there was one

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Speaker 4: production where the company formed an invisible circle of support

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Speaker 4: around each other, and that was his He saw the

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Speaker 4: ensemble and I remember, I mean it was it bores

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Speaker 4: to Marn's production of You from the Bridge, and oh,

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Speaker 4: I could cry now thinking of it. It was an extraordinary,

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Speaker 4: powerful experience to be a student actor but in a

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Speaker 4: professional mindset. And I remember our curtain call and the

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Speaker 4: pride and the power, and it was an amazing moment

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Speaker 4: that changed the course of all of us. And we

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Speaker 4: understood what ensemble meant, and we understood what support meant,

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Speaker 4: and we understood the power we had as individuals and

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Speaker 4: as actors. And John saw that in his actors. There's

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Speaker 4: been a couple of experiences that I've had that it's

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Speaker 4: that same ensemble mentality. So that's the other thing I

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Speaker 4: have to interject here when I left Juilliard and left

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Speaker 4: the acting company, and then of course landed musicals. We

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Speaker 4: all did, by the way David Stiers did, Kevin did,

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Speaker 4: Mandy did. We all ended musicals. But there's only a

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Speaker 4: couple of times where I felt I had that kind

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Speaker 4: of ensemble. And one was Lima's in London because it

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Speaker 4: was a Royal Shakespeare Company actors. And the other was Gypsy,

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Speaker 4: where every actor owned their part, big or small, and

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Speaker 4: gave themselves to the play every single night. The other

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Speaker 4: one was Sweeney Too, because and our stage manager said

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Speaker 4: in Sweeney that we acted more like a band than

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Speaker 4: a bunch of actors. Right.

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Speaker 1: I love that feeling. So the acting company thing lasts

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Speaker 1: for how long? You didn't?

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Speaker 4: I did it for four years. Nobody goes in for

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Speaker 4: four years anymore. We all did it for four years,

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Speaker 4: and you know, I thought about the other I don't

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Speaker 4: know why we stayed, except we thought, I'm sure we

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Speaker 4: all went we are not going to be able to

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Speaker 4: play these parts in real life.

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Speaker 1: And that was back in a time when there were

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Speaker 1: the very last vapors in the air here in New

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Speaker 1: York of the old way, and the old way was

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Speaker 1: you went downtown, and you sat carried a spear for Joe,

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Speaker 1: or you carried a spear in the park. And there

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Speaker 1: was an apprenticeship in the theater. And if you didn't

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Speaker 1: have cred in the theater, Raoul and Chris Walkin and

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Speaker 1: Sir Gurney and you and Kevin and everybody, everybody who

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Speaker 1: were the princes and princesses and Mandy of the theater

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Speaker 1: in New York, that's where you headed. So when you

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Speaker 1: finished the acting company and you've decided, you know, you've

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Speaker 1: done enough, it's four years, which was a typical of people.

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Speaker 1: Then where do you go?

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Speaker 4: Then we came home, Kevin and I came home.

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Speaker 1: And so you're with Kevin. Yes, Kevin and you were

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Speaker 1: Kevin and you were a.

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Speaker 4: Couple for seven years. We broke up, we got back together,

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Speaker 4: we broke up, we got back together, we broke up,

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Speaker 4: We got back.

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Speaker 1: To Can you imagine the children you would have had

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Speaker 1: for him? Good God, in heaven, good God, they would

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Speaker 1: have a theater big enough to house that person's ego

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Speaker 1: and talent.

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Speaker 4: So we both came home and Kevin went off and

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Speaker 4: did a play, and I had auditions four I didn't

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Speaker 4: get the Baker's Wife Stephen Schwartz musical The Baker's Wife,

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Speaker 4: based on marcell Panos La fem de Boulange. But I

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Speaker 4: got a telephone call from David Merrick's general manager, Helen Nickerson,

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Speaker 4: and to ask if I was free because they wanted

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Speaker 4: me to come out to La to replace the leading lady.

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Speaker 4: And I wanted to do this musical so badly, so

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Speaker 4: I went out and I did my first big, gut wrenching,

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Speaker 4: rip out of your body, squish heart, the most horrible,

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Speaker 4: vulnerable experience of my life, The Baker's Wife.

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Speaker 5: Who does he think he is? Who could be as handsome?

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Speaker 5: Who could be as smart as he thinks he is?

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Speaker 5: He just had to snap his fingers. Women fall up?

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Speaker 5: What does he think that'll.

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Speaker 2: Slink away with him? Palla him rise?

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Speaker 4: And truly it was an unbelievable disaster, and we were

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Speaker 4: on the road for six months. That is that's the

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Speaker 4: big question. It is a great idea, it's a great film.

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Speaker 4: It had Stephen Schwartz music, it had Joe Melziner's last sets,

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Speaker 4: Jennifer Tipped into the lights and the one Oldrins did

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Speaker 4: the costumes. David Merrick was producing. It had all the

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Speaker 4: potential to be a smash hit, and it got progressive.

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Speaker 4: I joined two days after they opened in LA and

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Speaker 4: it got progressively worse. For you knew months and no

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Speaker 4: I thought it was going to be okay, but I

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Speaker 4: didn't realize that nobody realized what was really going to

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Speaker 4: happen to us and it and what did happen, Well,

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Speaker 4: six people were fired. The show never got better. David

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Speaker 4: Merrick came out. One of the most theatrical moments I've

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Speaker 4: ever had in my career was David Merrick showing up

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Speaker 4: in San Francisco. We were performing in San Francisco with

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Speaker 4: no director. We were told to stay after the show.

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Speaker 4: They assembled us on the stage and there was it

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Speaker 4: was not lit except for the ghost light. David Merrick

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Speaker 4: showed up and stood in front of the ghost light,

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Speaker 4: so he was totally backlit. Couldn't see his face, only

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Speaker 4: saw the outline of a long coat and a bowler hat,

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Speaker 4: and proceeded to ask us to go into rehearsal for nothing,

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Speaker 4: so that we could save this wonderful show. And it

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Speaker 4: was so dramatic, because he's incredibly dramatic, and so in

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Speaker 4: the light of day, everybody went what we had just

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Speaker 4: gotten out of rehearsal for nothing. We were in rehearsal

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Speaker 4: every single day, performing at night for six months. And

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Speaker 4: what we rehearsed that day when in that night, only

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Speaker 4: to rehearse the next day, and that stuff would come out,

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Speaker 4: some new stuff would go in that was not better

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Speaker 4: than what we had just taken.

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Speaker 1: We're in a laboratory. We were in you were in

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Speaker 1: Doctor Frankenstein's.

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Speaker 4: The people were dying, the rats were dying, the rats

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Speaker 4: were losing air. Oh my god, it was so horrible.

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Speaker 4: And you know, there's an expression, Larry Galbart's expression. If

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Speaker 4: Hitler were alive today, his punishment should be to send

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Speaker 4: him out on the road with the music in trouble.

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Speaker 1: I did a movie once in the movie was going

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Speaker 1: really badly and said, this is as if the government

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Speaker 1: made movies.

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Speaker 4: You know, I've always said, there's a fine line between

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Speaker 4: a hit and a flop. And you don't know what

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Speaker 4: it is. You don't know why it is a hit,

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Speaker 4: and you don't know why it is a flop. You know,

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Speaker 4: if it's really terrible, you know right off the bat,

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Speaker 4: and you're not going to take the job. But if

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Speaker 4: it has the potential to be a hit and ends

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Speaker 4: up being a flop. You can't figure it out, so you.

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Speaker 1: Do this show and when you come out of that, like,

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Speaker 1: what's the lesson for you? Was there something you said

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Speaker 1: to yourself? Never again am I going to no?

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Speaker 4: I went into a depression for nine months. I was

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Speaker 4: on valium to sleep for the six months, and I

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Speaker 4: went into a valium depression for nine months, gained forty pounds,

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Speaker 4: woke up went what the hell just happened? And I

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Speaker 4: couldn't say you think that?

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Speaker 1: It is like like you care a lot. There's nothing

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Speaker 1: casual about you. There's nothing amateurish about you. You know,

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Speaker 1: you're very serious and you're very dedicated. You're very hard

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Speaker 1: working along with being very talented, and you feel these wounds.

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Speaker 1: Why do you think that is why?

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Speaker 4: Our business is subjective? It's all subjective, you know what

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Speaker 4: I mean? You talk to anybody from the baker's wife

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Speaker 4: and they can remember it as if it was yesterday,

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Speaker 4: and there's blood spilled, and we became blood a blood family.

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Speaker 4: I just said to me Jerome, who's in phantom now

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Speaker 4: and we see each other and what we recall is

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Speaker 4: that bonding in that horrible experience, and we can talk

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Speaker 4: about it as if it was yesterday. I think it's

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Speaker 4: because you know, it happened to us. Of course it

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Speaker 4: happened to the creators, but they're not on stage. We're

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Speaker 4: on stage succeeding or failing in front of an audience.

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Speaker 4: We're on stage being judged by the audience. We're the messengers.

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Speaker 1: We're the ones who take the hit.

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Speaker 4: We take the hit all the time. This was really abusive.

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Speaker 4: It was just horrible. I woke up one morning and

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Speaker 4: my face was filled with what looked like whiteheads. The

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Speaker 4: entire face had raised bumps on it. I didn't know

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Speaker 4: what it was. I went to sleep, well, God, and

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Speaker 4: the entire face. I maybe it was from the valume.

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Speaker 4: I have no idea what I was. Things were happening

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Speaker 4: to us, physically happening to us. And when does the.

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Speaker 1: Sun come out for you? When does the sun come

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Speaker 1: out for Patty Lapone? Career wise?

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Speaker 4: I think when I go back to work with David Mammott,

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Speaker 4: I go back and work with David, I go into

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Speaker 4: I mean, go back David and I did it play

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Speaker 4: in Chicago? Was that after Baker's wife? Was that I see,

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Speaker 4: I'm trying to keep I'm trying to keep it straight.

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Speaker 1: What play did you do with him? First?

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Speaker 4: The very first play I did with him was a

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Speaker 4: thing called All Men or Whores Kevin sam ch Chiffish

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Speaker 4: and I did it at Yelle Rep for one night.

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Speaker 4: I said, Hey, Dave, we opened and closed in new Haven.

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Speaker 4: And new Haven used to be one of the circuit

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Speaker 4: you know, when you took a show out of town,

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Speaker 4: your first stop was new Haven and it was a

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Speaker 4: big deciding factor. So we opened and closed, we bombed well.

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Speaker 4: And from there he gave me a play called The Woods.

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Speaker 1: What happens when you do the Woods?

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Speaker 4: Well, I go back to what I was trained for,

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Speaker 4: and I go back to an honest environment pretty much.

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Speaker 1: And you're back to the circle of trust. Yeah, eving

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Speaker 1: feels right. This is more like it.

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Speaker 4: And it's a risk. It's a big risk. And when

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Speaker 4: every time I work with David I learned so much

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Speaker 4: as a human being. Was that approximately and I think

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Speaker 4: late nineteen seventy six, seventy seven, So you had a

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Speaker 4: relationship with him, yes, well we met him in thirty

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Speaker 4: five years. Yes, yes, and I will I will drop

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Speaker 4: everything to do a play by David everything. I don't

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Speaker 4: care how risky. It is. I learned so much from

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Speaker 4: David and I instinctually have the mammot speak. That's something

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Speaker 4: that I know how to do his rhythms, and I

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Speaker 4: think it's because it's someone said I cut my teeth

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Speaker 4: on David. David's words when you know, starting with allmen

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Speaker 4: or whores and the woods and the water engine and Edmund.

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Speaker 4: I had finished Devita and I went down to the

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Speaker 4: Provincetome playoffs at the opening of Edmund, and I said,

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Speaker 4: why couldn't I have been in this? In the back

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Speaker 4: of my head? And not two weeks later I got

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Speaker 4: a call from Gregorymoser and David saying would you replace

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Speaker 4: to Linda's a Chicago actress, and she wanted to go

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Speaker 4: back to Chicago. She was playing What the Wife. She

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Speaker 4: came on and she was at the beginning, beginning, That's

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Speaker 4: that's it, you know, and she visits broke.

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Speaker 1: The dish or whatever it is exactly I'm leaving. She's

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Speaker 1: what do you mean you're leaving? Of course we're leaving.

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Speaker 1: We'read geting dress book and I think, no, I'm leaving

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Speaker 1: you what do you know?

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Speaker 5: This?

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Speaker 4: Will you know?

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Speaker 1: I begged Mammon to give me the right to do

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Speaker 1: the movie, but he gave it to Bill Mason.

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Speaker 4: And so I joined the company and my agent was

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Speaker 4: so furious with me. He said, this will hurt your

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Speaker 4: negotiational you know ability, And I went for what you know,

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Speaker 4: If anybody in the business knows who I am, they

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Speaker 4: know that this is where I came from before I

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Speaker 4: did Ivita, and they did not want me to go backwards.

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Speaker 4: They didn't want me to go to the Guthrie to

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Speaker 4: do Rosalind and As You Like It. But I was

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Speaker 4: able to work with leave U Chule, a great Romanian

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Speaker 4: director which is passed god rest is soul, in his

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Speaker 4: internationally famous production of As You Like It at the Guthnment.

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Speaker 4: I was raked over the calls by the critics. One

355
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Speaker 4: critic said, you know, basically, what was Ivita doing here?

356
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Speaker 4: And it was It was difficult, as you say to

357
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Speaker 4: rad all that, but I kept doing it because I

358
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Speaker 4: was given the opportunity to do it, and I wasn't

359
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Speaker 4: going to say no, I have to wait for the

360
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Speaker 4: next ev de part to come along. If I waited

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Speaker 4: for the next ev de part to come along my

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Speaker 4: ten years, I'd still be waiting.

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Speaker 1: Is a Vita. The next big thing for you, recollection

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Speaker 1: Avida is the big thing is the.

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Speaker 4: Thing that was nineteen seventy nine. But in because how

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Speaker 4: does that happen? I auditioned Joanna Merlin is how princess

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Speaker 4: casting director, and of course how directed, how directed, And

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Speaker 4: as I said earlier, all of those people had come

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Speaker 4: to see this acting company at Juilliard, this unsemble.

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Speaker 1: They were aware of you.

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Speaker 4: They were aware, yes, And so I was brought in

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Speaker 4: for a preliminary audition, and then I was told to

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Speaker 4: make myself free, make sure that I made myself free

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Speaker 4: for the final callback. And as I understand it, How

375
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Speaker 4: wanted to cast actors in the role the roles as

376
00:18:53,440 --> 00:18:55,479
Speaker 4: opposed to just musical theater people. So I think that's

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Speaker 4: one of the reasons why I got in there, because

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Speaker 4: he knew, they knew I was an actor. Between there

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00:19:01,640 --> 00:19:05,200
Speaker 4: were several plays, there was stage directions by Israel Horovitz,

380
00:19:05,280 --> 00:19:07,359
Speaker 4: John Glover, Ellen Green and I down at the public

381
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Speaker 4: while Merrill's.

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Speaker 1: Doing You're doing everything you can to scratch that inch

383
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Speaker 1: of yours and not become a star.

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Speaker 4: No, I get it, No, no, it was it was

385
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Speaker 4: it was the available work.

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Speaker 1: We're about to talk about the moment when perhaps one

387
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Speaker 1: of the greatest musical stars of the last fifty years

388
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Speaker 1: is born on Broadway. So let's talk about how that

389
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Speaker 1: the moment this happens, how Prince wants people who can

390
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Speaker 1: act and sing. And you go to the make yourself

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Speaker 1: available to the final callback and what happened. How do

392
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Speaker 1: you feel when you're in that room.

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Speaker 4: Well, I was very mad because I was actually shooting

394
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Speaker 4: nineteen forty one and there was a little issue about

395
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Speaker 4: the Larch movie. Yes, about letting me go, and the

396
00:19:45,880 --> 00:19:48,399
Speaker 4: producer said, if you're not back tomorrow or the next day,

397
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Speaker 4: you'll never work in Hollywood again. So I left Hollywood

398
00:19:52,040 --> 00:19:55,040
Speaker 4: with those words ringing in my ear. And I woke

399
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Speaker 4: up in New York to the nineteen seventy eight blizzard

400
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Speaker 4: where they are like two feet of snow on the ground.

401
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Speaker 1: Couldn't get back to LA I couldn't.

402
00:20:00,359 --> 00:20:04,240
Speaker 4: Get back to La No, Christopher Reeve got me on

403
00:20:04,320 --> 00:20:06,280
Speaker 4: the plane. I only missed three hours of shooting. When

404
00:20:06,280 --> 00:20:11,080
Speaker 4: they said how'd you get here, I said, Superman, it's

405
00:20:11,160 --> 00:20:15,360
Speaker 4: a camaraderie exactly. So I went to the final callback,

406
00:20:15,400 --> 00:20:17,720
Speaker 4: but I was really mad because I didn't want to

407
00:20:17,760 --> 00:20:21,439
Speaker 4: do this musical. I didn't like the music. I thought, you, Vita,

408
00:20:21,720 --> 00:20:22,520
Speaker 4: you didn't like it?

409
00:20:22,880 --> 00:20:26,840
Speaker 1: Ah, what specifically? You're a smart woman, what specifically didn't

410
00:20:26,840 --> 00:20:27,119
Speaker 1: you like?

411
00:20:27,320 --> 00:20:27,480
Speaker 3: Well?

412
00:20:27,520 --> 00:20:30,000
Speaker 4: I didn't like. I heard the White album, the Julie Covington,

413
00:20:30,080 --> 00:20:34,960
Speaker 4: David Essex, Colin Wilkinson, very rocky, weird music, but it

414
00:20:35,080 --> 00:20:36,320
Speaker 4: rocked out a lot, and I thought, what's the matter.

415
00:20:36,600 --> 00:20:38,200
Speaker 4: I'm a rocker. I want to be a rocker. It

416
00:20:38,320 --> 00:20:41,960
Speaker 4: was really really high. Didn't grab me. I mean, I

417
00:20:42,040 --> 00:20:44,399
Speaker 4: grew up on Rogers and Hammerstein, I grew up on

418
00:20:44,480 --> 00:20:48,800
Speaker 4: Julie Stein, Meredith Wilson, Stephen Sondheime. This was not a

419
00:20:48,920 --> 00:20:52,560
Speaker 4: musical to me. This was noise from Britain, you know

420
00:20:52,600 --> 00:20:55,359
Speaker 4: what I mean? It wasn't. It just didn't. It didn't.

421
00:20:55,440 --> 00:20:56,800
Speaker 1: So how did you go out there and do it?

422
00:20:57,040 --> 00:20:59,080
Speaker 4: I went out and the final edition, I was wet

423
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Speaker 4: from my knees down, wearing sneakers and jeans, not knowing

424
00:21:01,720 --> 00:21:03,240
Speaker 4: it was going to snow. Who you know, I did

425
00:21:03,440 --> 00:21:05,720
Speaker 4: so stupid. I didn't look at the weather report. I

426
00:21:05,800 --> 00:21:09,560
Speaker 4: went out there and I blasted, literally blasted through rainbow

427
00:21:09,640 --> 00:21:12,480
Speaker 4: high Buenos Aires and don't cry for me, Argentina and

428
00:21:12,560 --> 00:21:15,879
Speaker 4: there were tears in my eyes, apparently, and there were

429
00:21:15,920 --> 00:21:19,040
Speaker 4: there were tears of rage, necessarily, not tears of right.

430
00:21:19,240 --> 00:21:22,639
Speaker 4: And I left and I got I got a call

431
00:21:22,720 --> 00:21:24,199
Speaker 4: on the set. I made it back and I got

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Speaker 4: a call on the set in the makeup trailer, and

433
00:21:26,359 --> 00:21:28,800
Speaker 4: they said you've got the part. And I started to

434
00:21:28,840 --> 00:21:31,440
Speaker 4: cry again because I had promised David that I would

435
00:21:31,480 --> 00:21:34,720
Speaker 4: reprise The Woods at the Public Theater with Ullu gross

436
00:21:34,760 --> 00:21:35,520
Speaker 4: Bar directing.

437
00:21:37,520 --> 00:21:39,520
Speaker 1: What I love is that you're going to blow your

438
00:21:39,560 --> 00:21:42,640
Speaker 1: Hollywood film career to go do a musical you don't

439
00:21:42,640 --> 00:21:44,720
Speaker 1: even like, and then that one they offered to you're

440
00:21:44,720 --> 00:21:45,800
Speaker 1: not sure you're going to think because you got to

441
00:21:45,840 --> 00:21:47,640
Speaker 1: go to another little man play well.

442
00:21:47,680 --> 00:21:50,760
Speaker 4: I had been trained to be an actor, and I

443
00:21:50,840 --> 00:21:54,960
Speaker 4: thought my responsibility was to act at every possible opportunity,

444
00:21:55,160 --> 00:21:59,840
Speaker 4: and especially good opportunity. You know it put you know,

445
00:22:00,119 --> 00:22:02,840
Speaker 4: fly your craft and if it's good material. And I

446
00:22:03,040 --> 00:22:05,680
Speaker 4: David and I forged a friendship and a bond, and

447
00:22:05,760 --> 00:22:07,639
Speaker 4: I didn't want to let him down. David and I

448
00:22:07,800 --> 00:22:10,200
Speaker 4: became really really good friends. David lived on twentieth Kevin

449
00:22:10,200 --> 00:22:12,040
Speaker 4: and I lived on twenty first Street. He'd come over

450
00:22:12,080 --> 00:22:14,480
Speaker 4: all the time. For breakfast, we'd walk around, we'd do Antia.

451
00:22:14,560 --> 00:22:16,160
Speaker 1: I'm gonna start calling you out by the way, because

452
00:22:16,160 --> 00:22:17,119
Speaker 1: you keep changing the subject.

453
00:22:17,240 --> 00:22:21,760
Speaker 4: What happened with how how did hell get you to

454
00:22:22,000 --> 00:22:23,120
Speaker 4: do that material?

455
00:22:23,800 --> 00:22:25,480
Speaker 1: And it became what it became?

456
00:22:25,680 --> 00:22:27,359
Speaker 4: Well, No, I knew I had to do it. I

457
00:22:27,480 --> 00:22:29,520
Speaker 4: cried because I knew that it would have to I

458
00:22:29,560 --> 00:22:30,879
Speaker 4: couldn't do the Woods and I had to do a

459
00:22:30,960 --> 00:22:32,800
Speaker 4: the Tip because I knew I wanted to work with

460
00:22:32,880 --> 00:22:34,800
Speaker 4: hol and I knew that it would change the course

461
00:22:34,840 --> 00:22:35,520
Speaker 4: of my career.

462
00:22:35,800 --> 00:22:37,359
Speaker 1: You knew going in that was going to be a hit.

463
00:22:38,000 --> 00:22:40,320
Speaker 4: There was so much hype before have.

464
00:22:40,400 --> 00:22:41,280
Speaker 1: They done it in London?

465
00:22:41,480 --> 00:22:41,640
Speaker 4: Yeah?

466
00:22:41,960 --> 00:22:43,000
Speaker 1: So what is a big hit in London?

467
00:22:43,119 --> 00:22:43,399
Speaker 4: Huge hit?

468
00:22:43,520 --> 00:22:44,879
Speaker 1: And you were in the American cast. It was a

469
00:22:44,920 --> 00:22:46,440
Speaker 1: huge hit in London, So you knew this was a

470
00:22:46,520 --> 00:22:47,320
Speaker 1: big opportunity and.

471
00:22:47,400 --> 00:22:49,720
Speaker 4: There was hype. You can't believe. That was my first

472
00:22:49,840 --> 00:22:51,679
Speaker 4: indication that this was going to be a tough experience

473
00:22:51,760 --> 00:22:53,440
Speaker 4: because it was I went, how am I going to

474
00:22:53,480 --> 00:22:56,440
Speaker 4: get around the hype? It was the first musical that

475
00:22:56,640 --> 00:23:00,400
Speaker 4: I was aware of that had so much pre opening

476
00:23:01,240 --> 00:23:05,480
Speaker 4: hype the modern way, not even buzz, you know, not

477
00:23:05,680 --> 00:23:10,640
Speaker 4: word of mouth, hype, media hype, and it was created,

478
00:23:10,680 --> 00:23:13,159
Speaker 4: of course by really useful by Andrew's company, do you

479
00:23:13,200 --> 00:23:14,920
Speaker 4: know what I mean? That's how he operates. And it

480
00:23:15,080 --> 00:23:17,239
Speaker 4: was frightening and I had no vocal time. So now

481
00:23:17,280 --> 00:23:18,560
Speaker 4: this thing is all hyped up.

482
00:23:19,359 --> 00:23:21,600
Speaker 1: You've been through everything you've been through, You've had some

483
00:23:21,800 --> 00:23:24,040
Speaker 1: good times and some tough times, and you've worked hard,

484
00:23:24,240 --> 00:23:26,080
Speaker 1: god knows four years in the row with Housman in

485
00:23:26,160 --> 00:23:29,119
Speaker 1: that company, and you step out for the Broadway opening,

486
00:23:29,240 --> 00:23:31,240
Speaker 1: the opening of Avida. What was it like for you?

487
00:23:31,280 --> 00:23:33,439
Speaker 1: How did they even perfect? Of course you did.

488
00:23:33,560 --> 00:23:37,960
Speaker 4: Yeah, and I threw up in the sink before I sank.

489
00:23:38,000 --> 00:23:40,119
Speaker 4: Don't cry from me, Argentina. I'm sure it was a

490
00:23:40,280 --> 00:23:45,240
Speaker 4: combination of I got. I got extremely bad notices opening

491
00:23:45,280 --> 00:23:48,879
Speaker 4: in LA and extremely bad notices opening in San Francisco.

492
00:23:49,240 --> 00:23:51,280
Speaker 4: And How came to me and said, we're going to

493
00:23:51,359 --> 00:23:54,040
Speaker 4: laugh about this. In twenty years of Patty, they pulled

494
00:23:54,080 --> 00:23:56,240
Speaker 4: the entire company together, and he said there was an

495
00:23:56,320 --> 00:23:58,960
Speaker 4: article coming out in Susie nicker Parker's column the next

496
00:23:59,040 --> 00:24:01,080
Speaker 4: day that I was going to be fired, and that

497
00:24:01,600 --> 00:24:04,200
Speaker 4: Actor's Equity was waiting to clear Elaine Page to take

498
00:24:04,240 --> 00:24:07,360
Speaker 4: my place, and this was in the newspapers A bad Yeah,

499
00:24:07,400 --> 00:24:09,800
Speaker 4: she's the one that originated in London. I'm dealing with

500
00:24:09,960 --> 00:24:12,280
Speaker 4: all of this press of me being fired and me

501
00:24:12,440 --> 00:24:14,800
Speaker 4: not being able to sing the part and still going

502
00:24:14,880 --> 00:24:15,199
Speaker 4: on for my.

503
00:24:16,480 --> 00:24:18,680
Speaker 1: Well that was that was opening night, and so so

504
00:24:19,000 --> 00:24:20,600
Speaker 1: you go out and do the opening of What Happens?

505
00:24:20,800 --> 00:24:25,200
Speaker 4: Bad reviews again, Actually they weren't bad. They dismissed how

506
00:24:25,640 --> 00:24:29,000
Speaker 4: and is this was an innovative This was an innovative

507
00:24:29,480 --> 00:24:34,600
Speaker 4: concept and innovative production. They dismissed how and they barely

508
00:24:34,720 --> 00:24:38,400
Speaker 4: touched on Mandy and me. And that's worse when you're ignored.

509
00:24:38,720 --> 00:24:41,280
Speaker 4: It's one thing if they're passionate and you're back and

510
00:24:41,440 --> 00:24:44,600
Speaker 4: passionate when you're good, but when you're ignored. And Mandy

511
00:24:44,640 --> 00:24:47,280
Speaker 4: and I at one point I said you want to

512
00:24:47,280 --> 00:24:49,200
Speaker 4: go out for a drink? He said yeah. We were

513
00:24:49,280 --> 00:24:53,199
Speaker 4: on fifty second. I think that's where the bread with theaters.

514
00:24:53,680 --> 00:24:57,680
Speaker 4: And we walked down eighth Avenue and simultaneously we burst

515
00:24:57,720 --> 00:25:00,320
Speaker 4: into tears. I mean, we worked hard in those parts

516
00:25:00,359 --> 00:25:03,200
Speaker 4: and then to be ignored is tough. And then of

517
00:25:03,280 --> 00:25:05,800
Speaker 4: course nine months later they give us the Tonys.

518
00:25:06,760 --> 00:25:11,679
Speaker 1: More after the break, when you win the Tony did.

519
00:25:11,920 --> 00:25:13,480
Speaker 1: Was it any vindication for you at all? Or was

520
00:25:13,520 --> 00:25:13,800
Speaker 1: it just a.

521
00:25:16,880 --> 00:25:19,480
Speaker 4: Yeah? Such a relief. It was such a relief because

522
00:25:19,760 --> 00:25:23,280
Speaker 4: really have you read? Because I was still performing and

523
00:25:23,359 --> 00:25:26,199
Speaker 4: still scared out of my mind. Every night I envied

524
00:25:26,440 --> 00:25:28,840
Speaker 4: Mandy because Mandy was just all over the place. He

525
00:25:28,880 --> 00:25:31,359
Speaker 4: didn't have a problem singing it. So he literally he

526
00:25:31,520 --> 00:25:34,399
Speaker 4: told me. He told me something the other day we

527
00:25:34,480 --> 00:25:36,280
Speaker 4: were talking about it beat He said, well, how tell

528
00:25:36,320 --> 00:25:38,359
Speaker 4: me to go? He wanted me over there, and I

529
00:25:38,400 --> 00:25:40,680
Speaker 4: said to how how do I get there? He said,

530
00:25:40,720 --> 00:25:43,600
Speaker 4: I don't know, just get there, And so that's where

531
00:25:43,840 --> 00:25:46,760
Speaker 4: he does a jette across the stage and I went.

532
00:25:46,880 --> 00:25:49,320
Speaker 4: I would see it every night, going why is Mandy

533
00:25:49,520 --> 00:25:52,200
Speaker 4: doing that? And it was because Hal told him to

534
00:25:52,240 --> 00:25:55,320
Speaker 4: get there, get there, and he didn't care. How so

535
00:25:55,480 --> 00:25:58,520
Speaker 4: Mandy put it in and it became part of his performance.

536
00:25:59,119 --> 00:26:02,600
Speaker 4: And so I suppose in that respect, how gives the

537
00:26:02,720 --> 00:26:06,920
Speaker 4: actor freedom? But I didn't have that freedom because I

538
00:26:07,040 --> 00:26:08,760
Speaker 4: was so tied up in a not because I didn't

539
00:26:08,800 --> 00:26:10,000
Speaker 4: think I could sing it.

540
00:26:10,240 --> 00:26:20,880
Speaker 2: I wanna be be when a apne what I did.

541
00:26:21,119 --> 00:26:23,880
Speaker 4: If I hadn't thought, if I hadn't known, we would

542
00:26:23,920 --> 00:26:29,600
Speaker 4: stay to again. Really, you know when you in a

543
00:26:29,680 --> 00:26:32,240
Speaker 4: rehearsal period, you know this, you have to do it

544
00:26:32,280 --> 00:26:34,080
Speaker 4: over and over and over again, so you're not hitting

545
00:26:34,160 --> 00:26:37,879
Speaker 4: that d in. Screw the middle classes once you're not

546
00:26:37,960 --> 00:26:41,560
Speaker 4: hitting that g in. Screw the middle classes, once you're

547
00:26:41,600 --> 00:26:44,800
Speaker 4: doing it over and over again. I didn't have vocal

548
00:26:44,880 --> 00:26:48,360
Speaker 4: technique to know that. I didn't have to hit those

549
00:26:48,440 --> 00:26:52,880
Speaker 4: notes every day. I didn't have vocal technique. I got

550
00:26:52,960 --> 00:26:57,840
Speaker 4: it during the run by from a kidney chorus who

551
00:26:58,440 --> 00:27:03,560
Speaker 4: David Rosberg I came stage in the tips. They got

552
00:27:03,640 --> 00:27:05,760
Speaker 4: him a piano, that put a piano in my dressing room,

553
00:27:05,840 --> 00:27:08,600
Speaker 4: and he worked with me an hour every single day

554
00:27:08,880 --> 00:27:12,520
Speaker 4: before the show. He would come to me and work

555
00:27:12,560 --> 00:27:13,800
Speaker 4: out of the goodness of his heart.

556
00:27:14,200 --> 00:27:16,240
Speaker 1: David Vosper where is he.

557
00:27:16,680 --> 00:27:19,800
Speaker 4: He's in Ohio. He's a director of opera. But he

558
00:27:19,880 --> 00:27:22,959
Speaker 4: would give me a vocal technique. He would warm me up.

559
00:27:23,160 --> 00:27:27,440
Speaker 4: And the difficult thing was to be to apply what

560
00:27:27,680 --> 00:27:29,720
Speaker 4: he had just taught me that night. Because I would

561
00:27:30,000 --> 00:27:33,600
Speaker 4: do one thing right, something else would go disastrously wrong.

562
00:27:34,119 --> 00:27:37,760
Speaker 4: But at least I was getting a technique to sing

563
00:27:37,880 --> 00:27:41,120
Speaker 4: that part. He saved my job, and they they knew

564
00:27:41,240 --> 00:27:42,560
Speaker 4: that and they paid him.

565
00:27:42,880 --> 00:27:45,080
Speaker 1: Now you say, when you talk about this, you talk

566
00:27:45,080 --> 00:27:47,680
Speaker 1: about the tension and the anxiety and the fear, and

567
00:27:48,280 --> 00:27:50,680
Speaker 1: you don't really want to necessarily be doing a vida

568
00:27:50,680 --> 00:27:52,440
Speaker 1: because you got another David play and this and this

569
00:27:52,560 --> 00:27:54,840
Speaker 1: and that. When did it start to become fun for you?

570
00:27:55,080 --> 00:27:55,199
Speaker 2: Oh?

571
00:27:55,280 --> 00:27:57,919
Speaker 4: Anything goes with a ball, Okay, So talk about that. Wow,

572
00:27:58,240 --> 00:28:00,520
Speaker 4: because of the material and because of the cast, and

573
00:28:01,160 --> 00:28:04,239
Speaker 4: it was hysterical, I mean Jerry's acts and Jerry did

574
00:28:04,359 --> 00:28:08,399
Speaker 4: a great job of directors, yes he is. But however,

575
00:28:09,320 --> 00:28:11,880
Speaker 4: these were the way musicals used to be written. You'd

576
00:28:11,920 --> 00:28:17,159
Speaker 4: have a joke coming and then a gorgeous song. The

577
00:28:17,280 --> 00:28:21,320
Speaker 4: material was so ripe and so beautiful. If I was

578
00:28:21,359 --> 00:28:23,080
Speaker 4: in a bad mood, all I had to do was

579
00:28:23,119 --> 00:28:32,560
Speaker 4: hear that. Okay, I know where I am tonight, just

580
00:28:32,720 --> 00:28:36,280
Speaker 4: looking and at the audience and seeing tears of joy

581
00:28:36,640 --> 00:28:39,720
Speaker 4: from laughter. The only thing we are as actors are messengers.

582
00:28:39,800 --> 00:28:42,800
Speaker 4: That's all we are. Correct. We are delivering the playwright's

583
00:28:42,840 --> 00:28:46,400
Speaker 4: intentions through the concept of the director. And I come

584
00:28:46,480 --> 00:28:49,240
Speaker 4: on stage if I feel confident in the role, then

585
00:28:50,120 --> 00:28:52,440
Speaker 4: I give it away. I give it away anyway. But

586
00:28:52,800 --> 00:28:55,360
Speaker 4: it's all about them. So I have to go out

587
00:28:55,400 --> 00:28:59,040
Speaker 4: there and love them, and I do. And I think

588
00:28:59,240 --> 00:29:02,000
Speaker 4: they see that they can relax with me because they

589
00:29:02,160 --> 00:29:04,840
Speaker 4: know I'm giving it to them. I'm not. You know,

590
00:29:04,880 --> 00:29:06,760
Speaker 4: there are some actors that don't want to be on

591
00:29:06,920 --> 00:29:09,560
Speaker 4: stage that because you just nailed it.

592
00:29:09,560 --> 00:29:12,080
Speaker 1: Because Patty Lepone to me is a woman who comes

593
00:29:12,080 --> 00:29:13,440
Speaker 1: out there and the first thing she sat up to

594
00:29:13,520 --> 00:29:16,080
Speaker 1: and she's like, you know, how's everybody doing? It's like

595
00:29:16,120 --> 00:29:17,840
Speaker 1: a little moment like a nightclub singer, like you know

596
00:29:18,000 --> 00:29:19,800
Speaker 1: how you all doing tonight? Without saying how y' all

597
00:29:19,840 --> 00:29:21,479
Speaker 1: doing tonight? Like just connect to them and let them

598
00:29:21,520 --> 00:29:24,960
Speaker 1: feel like there's no place else we'd rather be is

599
00:29:25,080 --> 00:29:26,000
Speaker 1: there than here? Right now?

600
00:29:26,200 --> 00:29:30,440
Speaker 4: Well, I think our responsibility is to relax them. You've

601
00:29:30,520 --> 00:29:32,680
Speaker 4: been in an audience. I've been in an audience where

602
00:29:32,760 --> 00:29:38,320
Speaker 4: we're worried for the performer and then we're not having experience.

603
00:29:38,320 --> 00:29:38,920
Speaker 4: They're paying a lot.

604
00:29:39,160 --> 00:29:40,840
Speaker 1: And if I'm worried for the performer and they and

605
00:29:40,880 --> 00:29:42,800
Speaker 1: they should be worried for, then I'm worried for me

606
00:29:42,840 --> 00:29:44,560
Speaker 1: because I want to get the f out of there. Yeah.

607
00:29:44,760 --> 00:29:47,640
Speaker 4: Hello. Our responsibility is the minute we hit the deck

608
00:29:48,960 --> 00:29:51,320
Speaker 4: is to relax the audience. And that is what is

609
00:29:51,400 --> 00:29:52,160
Speaker 4: called command.

610
00:29:54,760 --> 00:30:02,280
Speaker 2: You're the colony, you're the top, You're You're a melody

611
00:30:02,520 --> 00:30:07,120
Speaker 2: from a symphony by Strass. I say this on it.

612
00:30:09,840 --> 00:30:10,960
Speaker 1: How long did you do anything?

613
00:30:11,040 --> 00:30:14,720
Speaker 4: Goes ah, fifteen months? I think fifteen Oh, I laughed

614
00:30:14,760 --> 00:30:16,840
Speaker 4: my ass off, and that'sa we had such a ball.

615
00:30:17,560 --> 00:30:19,440
Speaker 1: And the same thing is, is this this idea that

616
00:30:19,640 --> 00:30:21,440
Speaker 1: someone said to me, why do you like doing the theater?

617
00:30:21,480 --> 00:30:23,600
Speaker 1: I mean, even now, did you get it? A lot

618
00:30:23,640 --> 00:30:25,280
Speaker 1: of actors do it for a period and you get

619
00:30:25,320 --> 00:30:26,920
Speaker 1: it out of your system. I said, you know, the

620
00:30:26,960 --> 00:30:28,560
Speaker 1: one thing I've never gotten out of my system is

621
00:30:28,600 --> 00:30:30,600
Speaker 1: if the play is the right play, I said, I

622
00:30:30,720 --> 00:30:32,160
Speaker 1: go to work at six o'clock. I like to get

623
00:30:32,160 --> 00:30:34,120
Speaker 1: to the theater early. Me too, the kind of drain

624
00:30:34,320 --> 00:30:36,200
Speaker 1: the day out of me. And then I go out

625
00:30:36,240 --> 00:30:37,560
Speaker 1: on stage and I said, you know what I love?

626
00:30:37,600 --> 00:30:39,640
Speaker 1: I said, I know exactly what I'm going to say.

627
00:30:40,280 --> 00:30:41,840
Speaker 1: I know exactly what the other guy is going to

628
00:30:41,880 --> 00:30:43,120
Speaker 1: say for the next two and a half hours, and

629
00:30:43,160 --> 00:30:45,520
Speaker 1: I know exactly how people are likely going to react.

630
00:30:45,840 --> 00:30:47,480
Speaker 1: I said, how often can you say that in your life?

631
00:30:47,560 --> 00:30:49,320
Speaker 1: You know exactly what's going to happen, And it's a

632
00:30:49,360 --> 00:30:52,240
Speaker 1: good thing for the next two and a half hours

633
00:30:52,280 --> 00:30:54,360
Speaker 1: of your life. I never get tired of that.

634
00:30:54,680 --> 00:30:57,840
Speaker 4: No, and I it's magical. It's magical. And you said,

635
00:30:57,920 --> 00:30:59,560
Speaker 4: drain the day out, drain the day out to have

636
00:30:59,640 --> 00:31:01,360
Speaker 4: a magic good night. Do you know what I mean?

637
00:31:01,800 --> 00:31:02,000
Speaker 2: Really?

638
00:31:02,080 --> 00:31:05,640
Speaker 4: To have an experience with a group of people. Do

639
00:31:05,640 --> 00:31:07,600
Speaker 4: you know I mean not just your your fellow actors

640
00:31:07,680 --> 00:31:09,360
Speaker 4: on the stage, but people that want that leave the

641
00:31:09,440 --> 00:31:11,920
Speaker 4: theater going oh my. I mean I've done that. I've

642
00:31:11,960 --> 00:31:14,720
Speaker 4: walked out of a production going oh my, oh what

643
00:31:14,880 --> 00:31:17,680
Speaker 4: street are we on? You know, we've been transported, We've

644
00:31:17,680 --> 00:31:20,600
Speaker 4: been taken away, We've drained the day out of our life,

645
00:31:20,840 --> 00:31:24,240
Speaker 4: and we've experienced something that has changed us. It's another

646
00:31:24,320 --> 00:31:27,360
Speaker 4: thing I love about our profession, the arts. I mean,

647
00:31:27,400 --> 00:31:29,000
Speaker 4: you can do that in the in the movies too.

648
00:31:29,360 --> 00:31:32,960
Speaker 1: Was as a woman, as an actress who is known

649
00:31:33,760 --> 00:31:37,480
Speaker 1: for a raft. Now of these heavy duty, you know,

650
00:31:38,320 --> 00:31:41,360
Speaker 1: powerful musical roles, was there another one that I'm missing?

651
00:31:41,400 --> 00:31:45,479
Speaker 1: Between Avida and No, we did all I did?

652
00:31:45,520 --> 00:31:49,440
Speaker 4: Oliver? I did Oliver? I know Oliver here le miss

653
00:31:49,480 --> 00:31:51,960
Speaker 4: in London. Who were the leads in Oliver, Ron Moody

654
00:31:52,240 --> 00:31:54,680
Speaker 4: and Graham Campbell God Restless, so Ron Moody was reprising

655
00:31:54,760 --> 00:31:57,840
Speaker 4: his Yeah he was great, beautiful.

656
00:31:57,480 --> 00:32:00,640
Speaker 1: Song, gorgeous as long as he needs me, one of

657
00:32:00,640 --> 00:32:02,800
Speaker 1: the most beautiful songs in all of the musical theater.

658
00:32:02,960 --> 00:32:03,160
Speaker 2: God.

659
00:32:03,560 --> 00:32:06,440
Speaker 4: Yeah, he wrote a great score. And then I went

660
00:32:06,480 --> 00:32:08,800
Speaker 4: to London and did lea miz so le miz you

661
00:32:08,840 --> 00:32:12,520
Speaker 4: did only in London? Yes? Why well? And this because

662
00:32:12,520 --> 00:32:15,000
Speaker 4: I didn't want to do it well. And it's a

663
00:32:15,080 --> 00:32:18,480
Speaker 4: reason that I have questioned my entire career. When I

664
00:32:18,680 --> 00:32:21,360
Speaker 4: was at the Barbicane rehearsing the Barbicane was then the

665
00:32:21,440 --> 00:32:25,200
Speaker 4: Royal Shakespeare Company's London home, it felt so much like

666
00:32:25,320 --> 00:32:29,080
Speaker 4: being in the hallways of Juilliard. It was amaze the

667
00:32:29,160 --> 00:32:31,600
Speaker 4: rehearsal rooms. I just felt like I was at Juilliard.

668
00:32:32,080 --> 00:32:35,600
Speaker 4: And Trevor actually said to me, if anybody belongs in

669
00:32:35,680 --> 00:32:38,440
Speaker 4: this production or with the Royal Shakespeare Company, it's you, Patty.

670
00:32:38,520 --> 00:32:42,200
Speaker 4: Because Michelle Sudni was an artistic director of the Royal

671
00:32:42,240 --> 00:32:45,040
Speaker 4: Shakespeare Company. Michelle sun Deny was one of the co

672
00:32:45,200 --> 00:32:47,680
Speaker 4: founders and an artistic director of the Drama division of

673
00:32:47,680 --> 00:32:50,400
Speaker 4: the Juilliard School. So I came full circle two different

674
00:32:50,440 --> 00:32:53,240
Speaker 4: countries but I had come full circle in training.

675
00:32:53,680 --> 00:32:55,200
Speaker 1: Couple of the notices for you when you did le

676
00:32:55,280 --> 00:32:55,880
Speaker 1: Mis in London.

677
00:32:56,080 --> 00:32:58,240
Speaker 4: I don't even remember, but I won an Olivier Award

678
00:32:58,320 --> 00:33:00,720
Speaker 4: for Fontine. So I have no idea. But everybody that

679
00:33:00,800 --> 00:33:02,160
Speaker 4: I know that saw you do it said you were

680
00:33:02,200 --> 00:33:03,080
Speaker 4: breathtaking in that role.

681
00:33:03,280 --> 00:33:04,720
Speaker 1: So there was no desire you had.

682
00:33:04,880 --> 00:33:07,680
Speaker 4: Well, this is what happened. Two weeks after we opened

683
00:33:07,720 --> 00:33:10,640
Speaker 4: at the Barbicane. I came off stage in my barricade

684
00:33:10,720 --> 00:33:13,239
Speaker 4: uniform because I was in the barricade scene, and I went,

685
00:33:13,280 --> 00:33:15,120
Speaker 4: I can't do this in New York. It was an instinct,

686
00:33:15,560 --> 00:33:17,360
Speaker 4: I can't do this in New York. And I went

687
00:33:17,360 --> 00:33:18,760
Speaker 4: to the stage door to drop off a name to

688
00:33:18,800 --> 00:33:21,120
Speaker 4: the stage door man. A Cameron McIntosh, the producer you

689
00:33:21,160 --> 00:33:24,000
Speaker 4: know besides or Sci was standing there and I said, Cameron,

690
00:33:24,040 --> 00:33:25,080
Speaker 4: I can't do this in New York. I was the

691
00:33:25,120 --> 00:33:26,960
Speaker 4: only American in the company. He said, I know, the

692
00:33:27,000 --> 00:33:29,720
Speaker 4: parts too small. I said, no, that's not it. I said,

693
00:33:31,600 --> 00:33:34,880
Speaker 4: this is my company. I realized when I came off

694
00:33:34,960 --> 00:33:37,760
Speaker 4: the stage that I was in the perfect theatrical environment,

695
00:33:38,240 --> 00:33:40,720
Speaker 4: in the perfect play, with the perfect cast, and I

696
00:33:40,800 --> 00:33:44,680
Speaker 4: didn't want anything to touch that memory and I made it.

697
00:33:44,840 --> 00:33:46,440
Speaker 1: It would be different in New York totally.

698
00:33:46,560 --> 00:33:50,800
Speaker 4: It would be a reproduction of this production. And I

699
00:33:50,960 --> 00:33:53,640
Speaker 4: didn't think that I would see And you know, I've

700
00:33:53,720 --> 00:33:55,440
Speaker 4: never known whether I made the right decision or not.

701
00:33:55,800 --> 00:33:56,840
Speaker 1: But what did you do after that?

702
00:33:58,960 --> 00:34:01,440
Speaker 4: LBJ? I came back to do LBJ and.

703
00:34:01,680 --> 00:34:05,280
Speaker 1: We didn't talk about film in your life now because

704
00:34:05,360 --> 00:34:09,400
Speaker 1: in and around all of your historic career in the theater,

705
00:34:10,440 --> 00:34:11,400
Speaker 1: what is going on for you?

706
00:34:11,520 --> 00:34:13,920
Speaker 4: Film one nothing? I wish it did nothing, I mean

707
00:34:14,160 --> 00:34:16,200
Speaker 4: but minor. But I don't know why I don't get

708
00:34:16,280 --> 00:34:17,840
Speaker 4: cast or I don't know why that you know, And

709
00:34:17,920 --> 00:34:20,160
Speaker 4: now it's probably too light because I'm one of those

710
00:34:20,280 --> 00:34:22,960
Speaker 4: women that are too old for Hollywood, or maybe maybe

711
00:34:23,000 --> 00:34:25,080
Speaker 4: I'm coming into my film career now. I don't know

712
00:34:25,160 --> 00:34:28,319
Speaker 4: why it didn't happen, but it didn't. I did driving

713
00:34:28,360 --> 00:34:31,080
Speaker 4: Miss Daisy, and Alfred Duri was responsible for my casting

714
00:34:31,160 --> 00:34:34,680
Speaker 4: in that I did. And that's the best experience you

715
00:34:34,760 --> 00:34:38,400
Speaker 4: had making a film, all of them, working, especially working

716
00:34:38,480 --> 00:34:41,399
Speaker 4: with the Australian directors Bris Beresford and Peter Weirer.

717
00:34:41,560 --> 00:34:42,200
Speaker 1: What did you do with them?

718
00:34:42,520 --> 00:34:45,719
Speaker 4: We did Witness with Peter Weheir and I did Driving Daisy.

719
00:34:45,560 --> 00:34:47,440
Speaker 1: With Do you ever worked with Lamette?

720
00:34:48,480 --> 00:34:51,200
Speaker 4: Very little? I had a tiny, tiny, little part in something.

721
00:34:51,239 --> 00:34:53,239
Speaker 4: I can't remember what it was, but I thought, oh

722
00:34:53,320 --> 00:34:54,920
Speaker 4: my god, I would love to have worked with him.

723
00:34:55,160 --> 00:34:55,920
Speaker 1: Who were the stars.

724
00:34:56,520 --> 00:34:59,080
Speaker 4: I don't remember the whole experience. I was literally I

725
00:34:59,120 --> 00:35:02,520
Speaker 4: had one tiny and I can't remember if it was

726
00:35:02,600 --> 00:35:05,840
Speaker 4: a movie or I can't remember television series. Could have

727
00:35:05,920 --> 00:35:07,759
Speaker 4: been a television series, but I can't remember what about.

728
00:35:08,760 --> 00:35:11,120
Speaker 4: Life goes on for four years and then you know,

729
00:35:11,239 --> 00:35:13,800
Speaker 4: guest spots here and there. But it was It's odd

730
00:35:13,880 --> 00:35:16,440
Speaker 4: that that that I haven't had that opportunity.

731
00:35:17,200 --> 00:35:20,160
Speaker 1: I probably did have that opportunity, but you passed on it. Correct. No,

732
00:35:20,239 --> 00:35:21,560
Speaker 1: I don't think I in the chance to do a

733
00:35:21,600 --> 00:35:22,879
Speaker 1: television series come your way.

734
00:35:24,040 --> 00:35:24,080
Speaker 5: No.

735
00:35:24,400 --> 00:35:32,600
Speaker 4: I it's interesting. I'm a hard sell, Alec. I've been

736
00:35:32,680 --> 00:35:36,640
Speaker 4: cut at the studio level on auditions in California because

737
00:35:36,640 --> 00:35:39,640
Speaker 4: I didn't believe I was I could do this or that,

738
00:35:39,760 --> 00:35:41,680
Speaker 4: And you know, it's like it's I'm a hard sell

739
00:35:41,760 --> 00:35:45,000
Speaker 4: in California. I'm a hard sell in movies. I'm a

740
00:35:45,040 --> 00:35:49,960
Speaker 4: heart sell in TV. You know, I'm always a hard cell.

741
00:35:50,880 --> 00:35:52,759
Speaker 4: I could tell you a story, right, now, but I can't.

742
00:35:53,120 --> 00:35:55,719
Speaker 4: I've been asked to audition for a musical, and it's

743
00:35:55,760 --> 00:35:58,839
Speaker 4: twenty five years since I've auditioned for a musical. When

744
00:35:58,920 --> 00:36:01,080
Speaker 4: does it stop coming up?

745
00:36:01,200 --> 00:36:04,760
Speaker 1: Patty Lapone talks about the most painful loss of her career,

746
00:36:05,239 --> 00:36:08,239
Speaker 1: her subsequent illness, and how she recovered from both.

747
00:36:09,200 --> 00:36:11,320
Speaker 2: But the time is come.

748
00:36:12,320 --> 00:36:24,440
Speaker 3: Not with the voice as soft as thunder, as they tear.

749
00:36:24,440 --> 00:36:33,400
Speaker 2: Your whole, Bob, as they turn your dream to share,

750
00:36:46,880 --> 00:36:49,160
Speaker 2: he can make your sound heard.

751
00:36:49,480 --> 00:37:00,280
Speaker 3: Say with one law your known.

752
00:36:59,680 --> 00:37:01,960
Speaker 1: This is It's Alec Baldwin and you were listening to

753
00:37:02,120 --> 00:37:06,440
Speaker 1: here's the thing. Patty Lapone originated the role of Norma

754
00:37:06,520 --> 00:37:10,560
Speaker 1: Desmond in Andrew Lloyd Webber's Sunset Boulevard in London. She

755
00:37:10,760 --> 00:37:13,640
Speaker 1: was set to move with the show to Broadway until

756
00:37:13,680 --> 00:37:16,560
Speaker 1: she found out she was being replaced by Glenn Close.

757
00:37:17,120 --> 00:37:20,279
Speaker 1: To say she was devastated is an understatement.

758
00:37:20,560 --> 00:37:23,120
Speaker 4: You know, there's always going to be some kind of

759
00:37:24,200 --> 00:37:25,960
Speaker 4: stuff going on in a musical. That's just the nature

760
00:37:26,000 --> 00:37:27,960
Speaker 4: of a musical. But it was a great company, we

761
00:37:28,040 --> 00:37:30,719
Speaker 4: had a great time. That was the exterior information that

762
00:37:30,880 --> 00:37:34,080
Speaker 4: was coming to me that was very painful. I mean, clearly,

763
00:37:34,160 --> 00:37:36,719
Speaker 4: when I didn't get the reviews Andrew wanted me to get.

764
00:37:37,120 --> 00:37:39,319
Speaker 4: I was on the chopping block, but I didn't find

765
00:37:39,360 --> 00:37:42,479
Speaker 4: that out until after Glenn Close opened in New York

766
00:37:42,680 --> 00:37:46,640
Speaker 4: and Vincent Canby gave her this review against my bad review. Meantime,

767
00:37:46,640 --> 00:37:50,360
Speaker 4: I'm getting standing ovations in London and there's nothing about

768
00:37:50,400 --> 00:37:52,480
Speaker 4: me in the press in London because I show up

769
00:37:52,480 --> 00:37:55,000
Speaker 4: every night. I'm turning in my it's working, yeah, but

770
00:37:55,200 --> 00:37:57,160
Speaker 4: Andrew wanted something else. And the way they got me

771
00:37:57,239 --> 00:37:59,040
Speaker 4: out was the way they were going to get me

772
00:37:59,120 --> 00:38:02,239
Speaker 4: out was to have me quit because of the the

773
00:38:02,800 --> 00:38:07,160
Speaker 4: barrage of negative publicity and my agents and the lawyer

774
00:38:07,200 --> 00:38:08,560
Speaker 4: said stay on stage. And I don't know if it

775
00:38:08,680 --> 00:38:11,720
Speaker 4: was worth it, because it was really painful integration. Months

776
00:38:11,719 --> 00:38:14,359
Speaker 4: before I closed, I got a telephone call from my agent.

777
00:38:14,440 --> 00:38:17,359
Speaker 4: I'm in the dressing room getting ready for the show.

778
00:38:17,400 --> 00:38:19,359
Speaker 4: I called my agent call. He said here, you're sitting down.

779
00:38:19,400 --> 00:38:21,640
Speaker 4: I said yeah. He said, you've been fired. Glenn Close

780
00:38:21,760 --> 00:38:24,680
Speaker 4: was replacing you in New York and he went and

781
00:38:24,800 --> 00:38:26,640
Speaker 4: I got up and had batting practice in my dressing

782
00:38:26,680 --> 00:38:28,879
Speaker 4: room with a you know, a floor lamp, and left.

783
00:38:29,320 --> 00:38:31,400
Speaker 4: They could hear me crying and screaming, and the company

784
00:38:31,480 --> 00:38:34,439
Speaker 4: came up and company manager. I said, I've been fired.

785
00:38:34,480 --> 00:38:36,399
Speaker 4: I said, I'm leaving. I'm going bye. I can't take

786
00:38:36,440 --> 00:38:38,239
Speaker 4: this anymore. And if people say, what would you do

787
00:38:38,280 --> 00:38:39,560
Speaker 4: if you saw Andrew again, I said, it's not what

788
00:38:39,560 --> 00:38:42,800
Speaker 4: I would do, It's what my husband would do. Because

789
00:38:43,160 --> 00:38:47,120
Speaker 4: whatever I had to absorb I then took out on

790
00:38:47,200 --> 00:38:49,440
Speaker 4: my husband when I came home, and that was like

791
00:38:49,480 --> 00:38:51,239
Speaker 4: I went into therapy. I was on prozac. It was

792
00:38:51,320 --> 00:38:53,640
Speaker 4: like it was like a long healing process because I

793
00:38:53,680 --> 00:38:55,360
Speaker 4: had to absorb it and I couldn't. There was no

794
00:38:55,440 --> 00:38:57,080
Speaker 4: place I could release it because I had to perform

795
00:38:57,120 --> 00:39:00,800
Speaker 4: every night and that. But that company was extraordinary and

796
00:39:00,800 --> 00:39:02,200
Speaker 4: we had a great time. We had a great time.

797
00:39:02,360 --> 00:39:03,560
Speaker 1: So after that, you do Sweeney.

798
00:39:04,480 --> 00:39:07,279
Speaker 4: Then the next musical I do is Sweeney with John Doe.

799
00:39:07,320 --> 00:39:10,600
Speaker 4: Oh well, that is two thousand. This is interesting. I

800
00:39:10,719 --> 00:39:16,239
Speaker 4: come home beat up emotionally and also physically. I find

801
00:39:16,280 --> 00:39:21,520
Speaker 4: out through a routine eye examination that I am in

802
00:39:21,600 --> 00:39:24,759
Speaker 4: the middle of detached retinas in both eyes. There's like

803
00:39:24,800 --> 00:39:27,399
Speaker 4: four hundred shots of laser in one eye, two hundred

804
00:39:27,440 --> 00:39:29,680
Speaker 4: and fifty in the other eye. Kevin Anderson gets into

805
00:39:29,719 --> 00:39:33,160
Speaker 4: a life threatening motorcycle accident, and bob Aby and the

806
00:39:33,239 --> 00:39:36,440
Speaker 4: choreographer comes down with a really really severe case of

807
00:39:36,480 --> 00:39:38,680
Speaker 4: I don't know, shingles or something. So three of us

808
00:39:38,760 --> 00:39:42,600
Speaker 4: are manifesting illness at the end of this experience, which

809
00:39:42,680 --> 00:39:46,520
Speaker 4: was so bad. So I take time to heal and

810
00:39:46,719 --> 00:39:49,480
Speaker 4: I do a movie. I do bits and pieces. But

811
00:39:49,600 --> 00:39:52,440
Speaker 4: the next big thing that comes comes on the heels

812
00:39:52,560 --> 00:39:55,640
Speaker 4: of breast cancer. They say, do you want to play

813
00:39:56,000 --> 00:39:58,040
Speaker 4: Nellie love It in Sweeney Todd with the New York

814
00:39:58,120 --> 00:40:01,400
Speaker 4: philm brintervill playing I went first thing, I said to

815
00:40:01,440 --> 00:40:04,600
Speaker 4: Steve now, because I've never been cast an Assantai musical.

816
00:40:04,960 --> 00:40:06,480
Speaker 4: They said, yes, it gives the proval. I said, of

817
00:40:06,480 --> 00:40:08,439
Speaker 4: course I do. But this is a year earlier. Within

818
00:40:08,520 --> 00:40:10,600
Speaker 4: that year, I find out that I have breast cancer.

819
00:40:11,160 --> 00:40:13,160
Speaker 4: And what happens is I deal with it. There's nothing

820
00:40:13,160 --> 00:40:15,160
Speaker 4: else I can do but deal with it and go

821
00:40:15,280 --> 00:40:17,920
Speaker 4: through radiation. On my last day of radiation, start rehearsal

822
00:40:17,960 --> 00:40:19,040
Speaker 4: for Sweeney Todd or the New.

823
00:40:19,040 --> 00:40:21,799
Speaker 1: York Fill And it's that one for the Fill.

824
00:40:22,480 --> 00:40:27,279
Speaker 4: Yes, the quintessential New York moment. The New York Philharmonic

825
00:40:27,440 --> 00:40:31,280
Speaker 4: on a New York stage in a New Yorker's production,

826
00:40:31,800 --> 00:40:33,960
Speaker 4: and that was an unbelievable experience.

827
00:40:34,200 --> 00:40:43,480
Speaker 2: Here are hot from the oven. What is that it's priest,

828
00:40:44,360 --> 00:40:47,560
Speaker 2: have a little priest? Is it really good? That it's

829
00:40:47,600 --> 00:40:48,880
Speaker 2: too good? At least?

830
00:40:49,520 --> 00:40:52,960
Speaker 4: Then again they don't comment since all the flesh, so

831
00:40:53,040 --> 00:40:53,960
Speaker 4: that what's pretty fresh.

832
00:40:56,080 --> 00:40:59,879
Speaker 1: Now let's talk about Mammo's last place. So here you're

833
00:41:00,120 --> 00:41:03,440
Speaker 1: last venture in New York? Is you with your old buddy?

834
00:41:04,280 --> 00:41:06,239
Speaker 1: So he calls you. He's got the play and he

835
00:41:06,320 --> 00:41:06,600
Speaker 1: called you.

836
00:41:07,080 --> 00:41:10,359
Speaker 4: I called him. I saw November, and I saw after

837
00:41:10,440 --> 00:41:14,040
Speaker 4: the play. I saw his wife, Rebecca Pigeon. I said, Rebecca,

838
00:41:14,080 --> 00:41:16,080
Speaker 4: I'm hitting David up for a play. It's too long.

839
00:41:16,760 --> 00:41:19,439
Speaker 4: It's too long that we've worked together. And I wrote

840
00:41:19,480 --> 00:41:20,600
Speaker 4: him a letter and I said, I don't want a

841
00:41:20,600 --> 00:41:23,080
Speaker 4: relationship to end with the old neighborhood. I said, let's

842
00:41:23,120 --> 00:41:25,480
Speaker 4: do something. And then he called me and he said,

843
00:41:25,480 --> 00:41:27,880
Speaker 4: do you know who Kathy Boudin is? And I did,

844
00:41:27,920 --> 00:41:30,600
Speaker 4: but I didn't. And then he started to tell me

845
00:41:30,640 --> 00:41:32,480
Speaker 4: about he was right. He was thinking about writing a

846
00:41:32,520 --> 00:41:35,560
Speaker 4: play about the weatherman or the or an anarchist. And

847
00:41:35,640 --> 00:41:37,359
Speaker 4: I went, oh cool. And then then I found out

848
00:41:38,040 --> 00:41:39,560
Speaker 4: this was last year. And then I found out that

849
00:41:39,600 --> 00:41:42,279
Speaker 4: the play was being done in London, and I went, no, no, no, man,

850
00:41:42,680 --> 00:41:44,360
Speaker 4: I said, I have to play this part. And I

851
00:41:44,400 --> 00:41:45,640
Speaker 4: wrote to him and I said, is this the part

852
00:41:45,719 --> 00:41:47,160
Speaker 4: we were talking about? I said, they don't want me

853
00:41:47,200 --> 00:41:49,000
Speaker 4: in London because they don't want me in London, But

854
00:41:49,040 --> 00:41:50,080
Speaker 4: can I do it in New York? And he called me.

855
00:41:50,120 --> 00:41:52,600
Speaker 4: I said, scure, London, Let's do it now. So that's

856
00:41:52,680 --> 00:41:55,000
Speaker 4: how that happened. I knew it was a risk, but

857
00:41:55,080 --> 00:41:57,200
Speaker 4: that you know, I always take a risk with David

858
00:41:57,280 --> 00:41:58,040
Speaker 4: and I.

859
00:41:58,680 --> 00:42:02,120
Speaker 1: You've been directed by David before a lot more often

860
00:42:02,200 --> 00:42:05,840
Speaker 1: than you're comfortable with him in both very aspects. And

861
00:42:06,239 --> 00:42:08,120
Speaker 1: we talked about because I came and saw you that

862
00:42:08,280 --> 00:42:15,320
Speaker 1: last performance, and we talked about how the financing and

863
00:42:15,440 --> 00:42:18,080
Speaker 1: the financiers themselves have changed a lot, which is, if

864
00:42:18,080 --> 00:42:21,040
Speaker 1: they don't get those results very very quickly, they jump,

865
00:42:21,640 --> 00:42:22,400
Speaker 1: they put the parachute.

866
00:42:22,560 --> 00:42:25,000
Speaker 4: This is a risky play. And you know what Broadway

867
00:42:25,040 --> 00:42:27,960
Speaker 4: should be, what Broadway is supposed to be, which is

868
00:42:29,239 --> 00:42:38,080
Speaker 4: a vehicle for every idea. And I also am frustrated

869
00:42:38,160 --> 00:42:41,520
Speaker 4: with the producers that have made gobs of money. They

870
00:42:41,560 --> 00:42:44,319
Speaker 4: should have a levy tax, a tax levied against them.

871
00:42:44,320 --> 00:42:47,240
Speaker 4: They should open a black box theater. They should support

872
00:42:47,280 --> 00:42:49,880
Speaker 4: all the new playwrights and composers. There should be a

873
00:42:49,920 --> 00:42:52,319
Speaker 4: great deal of support. Art is the soul of a nation,

874
00:42:52,520 --> 00:42:57,080
Speaker 4: and our art is not being supported before they developed. Yes,

875
00:42:57,480 --> 00:43:01,080
Speaker 4: and it's very, very very depressing. It's very depressing. If

876
00:43:01,120 --> 00:43:02,680
Speaker 4: I go back on the stage in New York, I'm

877
00:43:02,680 --> 00:43:04,200
Speaker 4: going to find out who the producers are and who

878
00:43:04,239 --> 00:43:06,400
Speaker 4: their partners are, and I'm going to sit down and

879
00:43:06,440 --> 00:43:07,920
Speaker 4: talk to them, and I want to find out what

880
00:43:08,000 --> 00:43:09,239
Speaker 4: their marketing campaign is.

881
00:43:09,280 --> 00:43:11,440
Speaker 1: What their marketing You know, I need some answers going in.

882
00:43:11,719 --> 00:43:13,520
Speaker 4: Yes, you definitely, And I want to pay and play,

883
00:43:13,640 --> 00:43:15,480
Speaker 4: which you don't have pair play on Broadway. You don't

884
00:43:15,520 --> 00:43:17,520
Speaker 4: have that. But you know they don't think we take

885
00:43:17,560 --> 00:43:20,000
Speaker 4: the risk with them. We most certainly do.

886
00:43:20,200 --> 00:43:23,520
Speaker 1: Actually, well, we book out the payer play concepts and films.

887
00:43:23,600 --> 00:43:26,000
Speaker 1: Is important because we book out and sometimes you got

888
00:43:26,120 --> 00:43:27,680
Speaker 1: to take a deeper I think, go, maybe I shouldn't

889
00:43:27,719 --> 00:43:28,279
Speaker 1: care so much.

890
00:43:28,320 --> 00:43:31,480
Speaker 4: I don't know whether that's true, Alec, you would it

891
00:43:31,520 --> 00:43:34,960
Speaker 4: would reflect in your performance, do you know what I mean?

892
00:43:35,000 --> 00:43:36,880
Speaker 4: I think that you can see when people care and

893
00:43:36,960 --> 00:43:39,320
Speaker 4: when you an audience. This can see when they don't.

894
00:43:39,120 --> 00:43:41,759
Speaker 1: Care, because you see, because you seem like someone in

895
00:43:41,880 --> 00:43:45,400
Speaker 1: the years I've bumped into you, run into you, known you,

896
00:43:45,719 --> 00:43:49,399
Speaker 1: known you better, you seem to care the exact same

897
00:43:49,480 --> 00:43:50,480
Speaker 1: amount as you used to.

898
00:43:50,680 --> 00:43:53,000
Speaker 4: I love what I do, and I love the audience,

899
00:43:53,000 --> 00:43:54,520
Speaker 4: and I love the fact that I get to do it,

900
00:43:54,840 --> 00:43:58,040
Speaker 4: and I love I love our craft very very much,

901
00:43:58,120 --> 00:44:01,440
Speaker 4: and it's it's a noble craft. We have a responsibility

902
00:44:01,480 --> 00:44:03,280
Speaker 4: to it and to the audience, and to the playwright

903
00:44:03,320 --> 00:44:06,560
Speaker 4: and to the message. I won't ever care less if

904
00:44:06,640 --> 00:44:07,360
Speaker 4: the scar.

905
00:44:08,440 --> 00:44:16,520
Speaker 2: Should fall into the scene and the storm, it all.

906
00:44:18,040 --> 00:44:18,319
Speaker 5: To me.

907
00:44:23,200 --> 00:44:29,640
Speaker 2: That we have lonely, I will say.

908
00:44:32,239 --> 00:44:33,040
Speaker 4: To Lone.

909
00:44:35,239 --> 00:44:38,200
Speaker 1: Next month, Patty Lapone will go on a national tour

910
00:44:38,320 --> 00:44:42,600
Speaker 1: with her concert entitled Faraway Places This is Him to

911
00:44:42,760 --> 00:44:46,000
Speaker 1: Love from the CD of the same name. Her book,

912
00:44:46,200 --> 00:44:50,160
Speaker 1: Patty Lapone, a Memoir, is now available both in hardcover

913
00:44:50,600 --> 00:44:53,359
Speaker 1: and as an ebook. So the last thing I want

914
00:44:53,360 --> 00:44:56,400
Speaker 1: to say to you is a comment and a question

915
00:44:56,560 --> 00:44:58,560
Speaker 1: embedded in a comment. And that is, and I want

916
00:44:58,560 --> 00:45:00,080
Speaker 1: to say this as carefully as I can, is that

917
00:45:00,080 --> 00:45:01,680
Speaker 1: I want to get myself in trouble here on public

918
00:45:01,760 --> 00:45:05,279
Speaker 1: radio watching you perform, Patty sometimes it's like having sex

919
00:45:05,360 --> 00:45:06,439
Speaker 1: with you, and it's a good section.

920
00:45:07,400 --> 00:45:07,960
Speaker 4: It's like sex.

921
00:45:08,920 --> 00:45:11,239
Speaker 1: When you do what you do, it's like and when

922
00:45:11,280 --> 00:45:13,759
Speaker 1: you're done, I almost get this feeling like you're looking

923
00:45:13,760 --> 00:45:15,560
Speaker 1: at me personally, look at me, going, you really enjoyed

924
00:45:15,600 --> 00:45:17,920
Speaker 1: that day? That was good for you, wasn't it. Do

925
00:45:18,080 --> 00:45:21,400
Speaker 1: you realize My question is do you realize the effect

926
00:45:21,600 --> 00:45:22,560
Speaker 1: you have on people?

927
00:45:22,640 --> 00:45:23,040
Speaker 5: Do you know?

928
00:45:24,239 --> 00:45:26,440
Speaker 4: Well, when you come out there, can you feel how

929
00:45:26,520 --> 00:45:27,640
Speaker 4: much they're digging what you do?

930
00:45:28,200 --> 00:45:29,200
Speaker 1: You must be able to feel it.

931
00:45:29,400 --> 00:45:32,600
Speaker 4: Well, I don't know. If I don't go out there

932
00:45:32,640 --> 00:45:34,560
Speaker 4: going they're going to dig me. I go out there,

933
00:45:34,680 --> 00:45:37,200
Speaker 4: and I do know that the people that have come

934
00:45:37,239 --> 00:45:40,080
Speaker 4: to see me know that I have them in mind

935
00:45:40,719 --> 00:45:45,640
Speaker 4: and that they I already have them on my side.

936
00:45:45,719 --> 00:45:48,279
Speaker 4: They know that I'm doing it for them. They it

937
00:45:48,480 --> 00:45:51,280
Speaker 4: just it could be a persona could be a body

938
00:45:51,400 --> 00:45:53,879
Speaker 4: language thing, but they know that I know they're there.

939
00:45:54,280 --> 00:45:57,880
Speaker 4: And the differences when actors don't acknowledge the audience, the

940
00:45:57,960 --> 00:46:03,359
Speaker 4: audience can't come. When an actor acknowledges the audience, then

941
00:46:03,440 --> 00:46:05,040
Speaker 4: you can have a moment of ecstasy