1 00:00:00,720 --> 00:00:04,560 Speaker 1: Hey, it's Alec Baldwin here. Before we launch our next 2 00:00:04,640 --> 00:00:08,800 Speaker 1: season of Here's the Thing at iHeartRadio in January, I 3 00:00:08,840 --> 00:00:12,320 Speaker 1: thought I'd play some of my favorite shows from the archives. 4 00:00:12,840 --> 00:00:16,800 Speaker 1: Audra McDonald occupies a unique place in the American theater. 5 00:00:17,400 --> 00:00:20,160 Speaker 1: With six Tony Awards, she has the most of any 6 00:00:20,200 --> 00:00:23,319 Speaker 1: actress in history. She is renowned for her work in 7 00:00:23,360 --> 00:00:26,720 Speaker 1: opera as well as in films and on television. Here 8 00:00:26,800 --> 00:00:28,680 Speaker 1: is my conversation with Audra. 9 00:00:28,480 --> 00:00:47,760 Speaker 2: McDonald svens. 10 00:00:46,360 --> 00:00:52,080 Speaker 3: Hoatchuny. 11 00:00:57,280 --> 00:01:01,800 Speaker 1: Much like the staggering beauty of her singing, Audra McDonald 12 00:01:02,000 --> 00:01:06,320 Speaker 1: is impossible to ignore. The only person to sweep all 13 00:01:06,440 --> 00:01:09,520 Speaker 1: four acting categories at the Tonys, she's one of the 14 00:01:09,600 --> 00:01:14,720 Speaker 1: most decorated Broadway stars of all time. Reviews of her 15 00:01:14,800 --> 00:01:21,600 Speaker 1: award winning performances overflow with accolades. She's spellbinding, radiant, and 16 00:01:21,720 --> 00:01:26,440 Speaker 1: wrenchingly human. This year, the Julliard graduate took on her 17 00:01:26,520 --> 00:01:31,360 Speaker 1: first voice over role, playing Madame Gardrobe in Disney's Beauty 18 00:01:31,360 --> 00:01:34,760 Speaker 1: and the Beast. The performance was so great one critic 19 00:01:34,800 --> 00:01:38,280 Speaker 1: wrote that her name and the credits prompted theatergoers to 20 00:01:38,560 --> 00:01:42,479 Speaker 1: erupt in cheers. I sat down with Audre before her 21 00:01:42,560 --> 00:01:46,240 Speaker 1: debut this summer in London's West End, where she takes 22 00:01:46,280 --> 00:01:50,040 Speaker 1: on Billy Holliday, whose life as a black female performer 23 00:01:50,320 --> 00:01:51,360 Speaker 1: hits close to home. 24 00:01:51,960 --> 00:01:56,280 Speaker 3: Specifically for me, I would say that there was an 25 00:01:56,320 --> 00:02:00,640 Speaker 3: expectation on my part that things would get easier as 26 00:02:00,640 --> 00:02:03,600 Speaker 3: a result of being successful. You know, well, what do 27 00:02:03,680 --> 00:02:07,640 Speaker 3: you mean, they're going to make more money than I am, 28 00:02:07,720 --> 00:02:10,120 Speaker 3: and yet we're doing the same thing, we're playing we're 29 00:02:10,160 --> 00:02:12,560 Speaker 3: basically equal as far as the roles are concerned. 30 00:02:13,080 --> 00:02:16,200 Speaker 4: Or what did you do to address that? If anything? 31 00:02:16,720 --> 00:02:19,040 Speaker 3: I didn't. For I didn't do anything for a while 32 00:02:19,560 --> 00:02:21,880 Speaker 3: I should have, and I didn't. I just went along well. 33 00:02:21,880 --> 00:02:23,560 Speaker 3: And especially you know, when you're an actor, it's like 34 00:02:23,880 --> 00:02:26,320 Speaker 3: you're always being told you should be grateful you've got 35 00:02:26,320 --> 00:02:27,560 Speaker 3: the job, you know. 36 00:02:27,600 --> 00:02:29,960 Speaker 1: So being told that if you if you push too much, 37 00:02:30,040 --> 00:02:32,320 Speaker 1: you're going to get a bad reputation for being Yes, yes, 38 00:02:32,360 --> 00:02:35,280 Speaker 1: and I those actors that are infinitely less talented than 39 00:02:35,320 --> 00:02:36,840 Speaker 1: you all the time. 40 00:02:36,880 --> 00:02:38,959 Speaker 3: They're just easy to easier to work with, and they 41 00:02:39,000 --> 00:02:41,160 Speaker 3: don't they don't cause in terms of. 42 00:02:41,200 --> 00:02:43,520 Speaker 4: Being an African American performer, did that change? 43 00:02:43,760 --> 00:02:45,360 Speaker 3: Well, I tell you, I mean, let me give you 44 00:02:45,400 --> 00:02:48,480 Speaker 3: an example. Of how in some ways it changed and 45 00:02:48,480 --> 00:02:50,560 Speaker 3: didn't change. I have to I have to acknowledge the 46 00:02:50,600 --> 00:02:54,520 Speaker 3: fact that I am someone who has had uh an 47 00:02:54,560 --> 00:02:57,680 Speaker 3: incredible opportunity in terms of sort of breaking down barriers 48 00:02:57,960 --> 00:03:00,639 Speaker 3: as far as like color bland casting, being color blind, 49 00:03:00,680 --> 00:03:04,920 Speaker 3: cast as Carrie Pepperridge in Carousel, you know, or the 50 00:03:04,960 --> 00:03:07,400 Speaker 3: fact that I played Mother Abbess and the Sound of 51 00:03:07,440 --> 00:03:10,959 Speaker 3: Music Live, you know, and you know a lot of 52 00:03:11,000 --> 00:03:13,840 Speaker 3: people have issues with that, but you know, I was 53 00:03:13,880 --> 00:03:16,120 Speaker 3: the one that got the opportunity to do that. You know, 54 00:03:16,960 --> 00:03:19,760 Speaker 3: when I was doing Annie for ABC, they did a 55 00:03:19,840 --> 00:03:23,120 Speaker 3: version of that with Kathy Bates and Victor Garber and 56 00:03:23,639 --> 00:03:26,000 Speaker 3: Alan Comming and Kristin Chenowith, and they cast me as 57 00:03:26,160 --> 00:03:29,640 Speaker 3: Grace Ferrell and there was a scene at the end 58 00:03:29,680 --> 00:03:33,919 Speaker 3: where Grace Ferrell and Daddy Warbocks proposes to Grace Ferrell 59 00:03:34,000 --> 00:03:35,760 Speaker 3: at the end, the happy endings happening, you know. 60 00:03:35,880 --> 00:03:37,120 Speaker 4: And Victor was Daddy Warbucks. 61 00:03:37,360 --> 00:03:41,360 Speaker 3: Yes, he was my daddy. I love him too. And 62 00:03:42,360 --> 00:03:44,520 Speaker 3: actually you'll appreciate this. We were sitting around one day 63 00:03:44,520 --> 00:03:46,760 Speaker 3: on the set and you know, in a big, gorgeous 64 00:03:46,800 --> 00:03:48,920 Speaker 3: mansion that Daddy war Books has and we were sitting 65 00:03:48,960 --> 00:03:50,880 Speaker 3: between takes, and I was sitting next to Victor and 66 00:03:51,560 --> 00:03:54,200 Speaker 3: I just got a little emotional. I said, Victor, what 67 00:03:54,280 --> 00:03:56,880 Speaker 3: if this was really our house and we were really 68 00:03:56,880 --> 00:04:00,160 Speaker 3: getting married and we had all this money and this life. 69 00:04:00,160 --> 00:04:03,120 Speaker 3: And he said, in the just true Victor fashion, Darling, 70 00:04:03,400 --> 00:04:07,400 Speaker 3: get a hold of yourself. You can totally hear Victors 71 00:04:07,400 --> 00:04:11,200 Speaker 3: saying that, right. But anyway, so we were film king Barriers. Yeah, 72 00:04:11,200 --> 00:04:14,240 Speaker 3: we're filming. We were filming Annie, and so we shot 73 00:04:14,240 --> 00:04:18,159 Speaker 3: the scene where you know, Daddy Warbucks gives Grace Farrell 74 00:04:18,200 --> 00:04:21,479 Speaker 3: the ring and it's lovely, and then we get word 75 00:04:21,680 --> 00:04:24,479 Speaker 3: that we have to come in on a Saturday to 76 00:04:24,520 --> 00:04:30,200 Speaker 3: do some reshoots. And Rob Marshall was directing, and Neil 77 00:04:30,240 --> 00:04:33,159 Speaker 3: Maren and Craig Zayden, who were wonderful, wonderful producers and 78 00:04:33,240 --> 00:04:34,880 Speaker 3: have been very kind to me over the years and 79 00:04:34,880 --> 00:04:36,160 Speaker 3: give me a lot of work. That cast me in 80 00:04:36,200 --> 00:04:40,320 Speaker 3: Sound of Music as mother Abbess, and they said we 81 00:04:40,440 --> 00:04:43,919 Speaker 3: have to do some reshoots, and then they took me 82 00:04:43,920 --> 00:04:46,880 Speaker 3: aside and said, it turns out that Disney might be 83 00:04:46,920 --> 00:04:49,320 Speaker 3: a little uncomfortable or the powers that be. I don't 84 00:04:49,320 --> 00:04:51,120 Speaker 3: know if it was Disney abcre I don't know. We 85 00:04:51,160 --> 00:04:54,120 Speaker 3: are comfortable. There might be some issues with Daddy Warbucks 86 00:04:54,200 --> 00:04:58,599 Speaker 3: actually marrying Grace. So forty year was this nineteen ninety 87 00:04:58,720 --> 00:05:04,240 Speaker 3: nine nine, So we need to reshoot the scene and 88 00:05:04,960 --> 00:05:08,880 Speaker 3: do it without. 89 00:05:07,320 --> 00:05:09,600 Speaker 4: You're hooking up the Daddy Warbucks. 90 00:05:09,360 --> 00:05:15,800 Speaker 3: Giving Yeah, And I was devastated. I was I was devastated. 91 00:05:16,040 --> 00:05:18,520 Speaker 3: It's one of those things where you know you're starting 92 00:05:18,520 --> 00:05:19,960 Speaker 3: to feel good, You're starting to feel like, oh, there's 93 00:05:20,040 --> 00:05:22,400 Speaker 3: really change coming. Things are happening here. I am playing 94 00:05:22,400 --> 00:05:25,320 Speaker 3: this role and it's it's Annie, but nobody cares. 95 00:05:25,320 --> 00:05:27,520 Speaker 4: And it's what did everybody else feel? Including Victor? 96 00:05:27,760 --> 00:05:30,120 Speaker 3: I think everybody and I think they were all kind 97 00:05:30,160 --> 00:05:31,680 Speaker 3: of horrified, and you know, and. 98 00:05:31,680 --> 00:05:33,719 Speaker 4: Also did they use the product in the film? 99 00:05:34,520 --> 00:05:36,599 Speaker 3: Rob said, Okay, so we're all going to come in 100 00:05:36,600 --> 00:05:38,800 Speaker 3: on a Saturday, and you know how expensive that is 101 00:05:38,800 --> 00:05:40,760 Speaker 3: when you're only shooting Monday through Friday. Come in on 102 00:05:40,800 --> 00:05:44,039 Speaker 3: a Saturday just to reshoot the scene. So everybody comes 103 00:05:44,080 --> 00:05:46,960 Speaker 3: in and we get dressed up in that moment for 104 00:05:47,040 --> 00:05:51,880 Speaker 3: that scene, and Rob does one big master take of 105 00:05:52,480 --> 00:05:55,400 Speaker 3: Daddy Warbucks just sort of going, hey and bait buddy 106 00:05:55,400 --> 00:05:57,680 Speaker 3: a buddy, It's great in this great this happened okay, 107 00:05:59,040 --> 00:06:05,320 Speaker 3: exactly you over there, you person, you and he got 108 00:06:05,360 --> 00:06:09,800 Speaker 3: one shot, one master take one shot. And then Rob said, okay, 109 00:06:09,920 --> 00:06:13,159 Speaker 3: got that, so while we're here, and then he proceeded 110 00:06:13,200 --> 00:06:15,480 Speaker 3: to reshoot other things that he thought he could make 111 00:06:15,520 --> 00:06:18,280 Speaker 3: photos it, so he tanked to it. 112 00:06:18,320 --> 00:06:20,040 Speaker 4: He did tank it so they couldn't use it. 113 00:06:20,200 --> 00:06:22,080 Speaker 3: So they ended up using where so you look in 114 00:06:22,120 --> 00:06:24,800 Speaker 3: the film and Daddy Warbucks proposes to Grace Ferrell in 115 00:06:24,880 --> 00:06:28,479 Speaker 3: that and that's because that's because of Rob, you know, 116 00:06:29,160 --> 00:06:32,919 Speaker 3: and his courage, his courage. Absolutely. And then at the 117 00:06:33,000 --> 00:06:34,920 Speaker 3: end of the year when the film came out, Time 118 00:06:35,000 --> 00:06:37,360 Speaker 3: magazine said something, or maybe it was a newsweek and 119 00:06:37,520 --> 00:06:40,040 Speaker 3: of he said that in Things that Happened this Year, 120 00:06:40,120 --> 00:06:42,960 Speaker 3: Daddy Warbucks Marry is a black Grace Ferrell and nobody cares. 121 00:06:43,960 --> 00:06:46,200 Speaker 3: So I don't know what that's the answer to, but 122 00:06:46,240 --> 00:06:48,240 Speaker 3: it's just an issue of things that you know, you think, 123 00:06:48,240 --> 00:06:50,160 Speaker 3: you get to a certain point where you know things 124 00:06:50,160 --> 00:06:52,760 Speaker 3: are changing, and then boom, you're sort of slammed back 125 00:06:52,800 --> 00:06:53,680 Speaker 3: into that reality. 126 00:06:54,120 --> 00:06:55,400 Speaker 4: What are you in the middle of doing now? 127 00:06:56,480 --> 00:07:00,320 Speaker 3: I can't remember you rehearsing some show. Yes, Yes, I've 128 00:07:00,360 --> 00:07:02,720 Speaker 3: Got a Lady Day was on the West End. 129 00:07:02,760 --> 00:07:03,599 Speaker 4: You're going to go to London. 130 00:07:03,680 --> 00:07:06,640 Speaker 3: Yeah, I've never been. No, I've never performed on the 131 00:07:06,640 --> 00:07:07,040 Speaker 3: West End. 132 00:07:07,760 --> 00:07:09,479 Speaker 4: That's what I mean. You've never performed over there. 133 00:07:09,520 --> 00:07:11,240 Speaker 3: Not I performed, but never on the West End. I've 134 00:07:11,280 --> 00:07:13,200 Speaker 3: never I've done like concerts and stuff that I've never 135 00:07:13,200 --> 00:07:13,760 Speaker 3: done a show. 136 00:07:13,840 --> 00:07:15,440 Speaker 4: You never did a legit show over there? Yeah? 137 00:07:15,480 --> 00:07:16,120 Speaker 3: Yeah, yeah. 138 00:07:16,160 --> 00:07:17,960 Speaker 1: So what of the places outside of New York have 139 00:07:18,040 --> 00:07:20,280 Speaker 1: you performed? That's an interesting thing to think about. 140 00:07:20,440 --> 00:07:24,600 Speaker 3: Well, in terms of like concert work everywhere, but actual shows, 141 00:07:24,880 --> 00:07:27,720 Speaker 3: I've only done, Well, that's not true. I did the 142 00:07:27,720 --> 00:07:30,760 Speaker 3: Secret Garden Tour million years ago. So you do kind 143 00:07:30,800 --> 00:07:34,120 Speaker 3: of a national tour, you go all over the place. No, La, Yeah, 144 00:07:34,160 --> 00:07:36,960 Speaker 3: I did it, but as you know, ensemble member, you know, 145 00:07:37,040 --> 00:07:39,360 Speaker 3: and then I did Masterclass is the only other one 146 00:07:39,440 --> 00:07:41,160 Speaker 3: that I did. We did that in LA and at 147 00:07:41,160 --> 00:07:43,360 Speaker 3: the Kennedy Center. We did the taper at the Kennedy 148 00:07:43,360 --> 00:07:46,960 Speaker 3: Center and plays and players in Philadelphia before we came 149 00:07:47,000 --> 00:07:48,880 Speaker 3: into New York. But that's been the nineties. 150 00:07:49,280 --> 00:07:52,680 Speaker 1: Do you find that you stay in New York and 151 00:07:52,720 --> 00:07:54,360 Speaker 1: try to stay in New York if that's home and 152 00:07:54,440 --> 00:07:55,960 Speaker 1: that's easier for you, and well. 153 00:07:55,840 --> 00:07:57,040 Speaker 4: Yeah, I mean it is Broadway. 154 00:07:57,280 --> 00:07:58,800 Speaker 3: It's Broadway, and that's where I want to be. Yeah, 155 00:07:58,800 --> 00:08:01,840 Speaker 3: but especially since you know, since having kids, you know, 156 00:08:01,920 --> 00:08:03,760 Speaker 3: I mean, do you have no Well, I have a 157 00:08:03,800 --> 00:08:07,200 Speaker 3: six month old, and I have a sixteen year old, 158 00:08:07,400 --> 00:08:10,360 Speaker 3: and I have two step sons who are sixteen and thirteen. 159 00:08:10,480 --> 00:08:14,800 Speaker 3: So it's you have a sixteen year old and it's yours, 160 00:08:14,880 --> 00:08:15,640 Speaker 3: that's mine. 161 00:08:15,520 --> 00:08:17,760 Speaker 4: And you have a six month old that's mine, that's yours. 162 00:08:17,880 --> 00:08:20,880 Speaker 3: Yes, yes, you know what that's like, having a bit 163 00:08:20,920 --> 00:08:21,840 Speaker 3: of a spread in between. 164 00:08:22,040 --> 00:08:23,440 Speaker 4: You had a kid when you were very young, the 165 00:08:23,480 --> 00:08:24,160 Speaker 4: sixteen year. 166 00:08:24,000 --> 00:08:26,120 Speaker 3: Old, Well, that's very kind of you to say. No, 167 00:08:26,360 --> 00:08:28,880 Speaker 3: I was thirty when I had my first and now 168 00:08:28,920 --> 00:08:29,920 Speaker 3: I'm forty six. 169 00:08:29,960 --> 00:08:31,200 Speaker 4: And you want to have another baby? 170 00:08:31,560 --> 00:08:33,880 Speaker 3: I you know, I or you were drunk on a 171 00:08:33,920 --> 00:08:35,040 Speaker 3: sailboat your husband? 172 00:08:35,360 --> 00:08:36,360 Speaker 4: What happened? Which is it? 173 00:08:36,440 --> 00:08:39,200 Speaker 3: Which is it? It's it's it's somewhere in between. It's 174 00:08:39,240 --> 00:08:44,000 Speaker 3: really that the Broncos won the Super Bowl. Seriously, my god, 175 00:08:44,280 --> 00:08:48,080 Speaker 3: and my husband is a big Broncos fan, and nine 176 00:08:48,120 --> 00:08:52,440 Speaker 3: months later history the rest is Sally James McDonald's wins. Now, yeah, 177 00:08:52,920 --> 00:08:53,839 Speaker 3: what are you gonna dow? 178 00:08:54,000 --> 00:08:54,800 Speaker 4: Was that for you? 179 00:08:54,840 --> 00:08:57,840 Speaker 1: Because I mean, I don't always want to ask. I 180 00:08:57,920 --> 00:08:59,880 Speaker 1: was saying, how I want to do another show, but 181 00:09:00,080 --> 00:09:02,360 Speaker 1: I don't want to be away at dinner time every night. Yeah, 182 00:09:02,440 --> 00:09:04,760 Speaker 1: for four to six months, that's what's that like? 183 00:09:04,800 --> 00:09:05,880 Speaker 4: Do you bring the kids to the theater? 184 00:09:06,120 --> 00:09:08,160 Speaker 3: I did, well, I certainly did with my sixteen year old. 185 00:09:09,320 --> 00:09:11,200 Speaker 3: When she was little, she was at the theater all 186 00:09:11,240 --> 00:09:13,720 Speaker 3: the time with me. That was kind of the only way. 187 00:09:13,840 --> 00:09:18,400 Speaker 3: And I imagine, well, I know for a fact, when 188 00:09:18,400 --> 00:09:21,640 Speaker 3: I'm in London, I'm staying very close to the theater, 189 00:09:21,760 --> 00:09:25,120 Speaker 3: and she'll be at the theater. And and if I 190 00:09:25,160 --> 00:09:28,040 Speaker 3: were to get another Broadway show, I would just bring 191 00:09:28,080 --> 00:09:29,480 Speaker 3: her there because you don't want to You don't want 192 00:09:29,480 --> 00:09:31,880 Speaker 3: to miss anything, and you don't you don't want to 193 00:09:31,880 --> 00:09:32,559 Speaker 3: make them feel like. 194 00:09:32,600 --> 00:09:34,480 Speaker 4: What about the baby? 195 00:09:34,559 --> 00:09:37,160 Speaker 3: Yeah, the baby will come. Absolutely, she has to just 196 00:09:37,200 --> 00:09:38,840 Speaker 3: be with you right up till the half hour. That's 197 00:09:38,840 --> 00:09:40,880 Speaker 3: what I've been doing now this year. You know, since 198 00:09:40,880 --> 00:09:45,040 Speaker 3: i've had her, I've started back concertizing and literally I've 199 00:09:45,080 --> 00:09:48,439 Speaker 3: had her backstage with either my husband when he can 200 00:09:48,520 --> 00:09:53,320 Speaker 3: join me, or my babysitter, and I will sing and 201 00:09:53,360 --> 00:09:56,240 Speaker 3: then run off stage and nurse her and then you know, 202 00:09:56,320 --> 00:09:58,240 Speaker 3: go do your meet and greet or whatever. And actually 203 00:09:58,360 --> 00:10:00,800 Speaker 3: during one concert she was really really fussy, and so 204 00:10:00,840 --> 00:10:03,000 Speaker 3: my husband went on and performed, and I ran off 205 00:10:03,000 --> 00:10:05,120 Speaker 3: stage and nursed her and called her down and ran 206 00:10:05,200 --> 00:10:07,400 Speaker 3: back on stage. Crazy. Crazy. 207 00:10:07,800 --> 00:10:09,080 Speaker 4: Where did you meet him? Your husband? 208 00:10:09,280 --> 00:10:11,800 Speaker 3: We met doing one hundred and ten in the Shade, 209 00:10:12,240 --> 00:10:15,680 Speaker 3: the show on Broadway back in two thousand and seven. Yeah, 210 00:10:15,760 --> 00:10:17,640 Speaker 3: it was a long time ago, really, Yeah, yeah, yeah, 211 00:10:17,640 --> 00:10:20,680 Speaker 3: it was a crazy time too. I I met him 212 00:10:20,920 --> 00:10:23,760 Speaker 3: and then my dad was killed in the plane crash 213 00:10:23,840 --> 00:10:27,480 Speaker 3: like a couple of weeks, like about six weeks later. 214 00:10:27,679 --> 00:10:30,760 Speaker 3: Do your dad he was a high school principal that 215 00:10:31,080 --> 00:10:33,000 Speaker 3: you grew up in California? Yeah, but you were born 216 00:10:33,000 --> 00:10:34,320 Speaker 3: in Germany. I was born in Germany. 217 00:10:34,440 --> 00:10:35,280 Speaker 4: What was he doing over there? 218 00:10:35,440 --> 00:10:37,479 Speaker 3: He was in the he was in the army. Yeah, 219 00:10:37,520 --> 00:10:40,640 Speaker 3: and then yeah, I was raised in Fresno, California. My 220 00:10:40,720 --> 00:10:42,240 Speaker 3: dad was a high school principal and then he went 221 00:10:42,280 --> 00:10:45,800 Speaker 3: on to become an associate superintendent of schools there. But 222 00:10:45,960 --> 00:10:49,560 Speaker 3: his passion was flying, and he flew small planes and 223 00:10:49,600 --> 00:10:51,400 Speaker 3: he had his own and he was he had just 224 00:10:51,480 --> 00:10:53,400 Speaker 3: recently retired and he had his own plane that he 225 00:10:53,440 --> 00:10:59,040 Speaker 3: was flying. And yeah, he had where were you that 226 00:10:59,360 --> 00:11:03,000 Speaker 3: I was actually walking. I just finished the matinee of 227 00:11:03,000 --> 00:11:04,880 Speaker 3: one hundred and in the shape. We were still in previews, 228 00:11:05,440 --> 00:11:09,120 Speaker 3: and I was walking with my husband. He wasn't my 229 00:11:09,160 --> 00:11:10,679 Speaker 3: husband at the time, he was just a friend at 230 00:11:10,720 --> 00:11:12,800 Speaker 3: the time. A bunch of us were walking to meet 231 00:11:13,200 --> 00:11:15,040 Speaker 3: the rest of the cast to have you know, a 232 00:11:15,080 --> 00:11:18,160 Speaker 3: post you know, Sunday matinee drink with the entire cast. 233 00:11:19,000 --> 00:11:21,040 Speaker 3: And my stepmom. 234 00:11:20,600 --> 00:11:22,920 Speaker 4: Called and said her dad was remarried. 235 00:11:23,040 --> 00:11:25,600 Speaker 3: Yes, he was remarried. And your mom still yes, my mom, 236 00:11:26,320 --> 00:11:28,560 Speaker 3: she lives next door to me in the city. Yeah, yeah, 237 00:11:28,600 --> 00:11:31,560 Speaker 3: or yeah, in Westchester. When she retired she left town 238 00:11:33,840 --> 00:11:38,120 Speaker 3: breath yes, yes, but yeah. My stepmom called me and said, 239 00:11:38,200 --> 00:11:41,160 Speaker 3: and I was just I was on fifty third Street 240 00:11:41,200 --> 00:11:45,120 Speaker 3: between eighth and ninth Avenues, and it was it was 241 00:11:45,360 --> 00:11:48,360 Speaker 3: It's interesting, you know in those moments, you know, you 242 00:11:48,400 --> 00:11:51,440 Speaker 3: see what happens in film and you think it'll be similar, 243 00:11:51,679 --> 00:11:54,160 Speaker 3: you know, in real life, and it's it seldom is, 244 00:11:54,559 --> 00:11:58,400 Speaker 3: you know, as an act Well, I didn't. I didn't 245 00:11:58,480 --> 00:12:01,600 Speaker 3: compute what she was saying. You know, she said, your dad, 246 00:12:02,120 --> 00:12:04,640 Speaker 3: dad had an accident while he was flying the plane 247 00:12:05,080 --> 00:12:07,200 Speaker 3: and he didn't make it. And I kept saying, oh. 248 00:12:07,240 --> 00:12:10,320 Speaker 3: I said, okay, so where is he now? And she said, Audra, 249 00:12:10,440 --> 00:12:12,520 Speaker 3: he didn't make it. I was like, okay, well where 250 00:12:12,600 --> 00:12:16,680 Speaker 3: is Yeah? But I wasn't. It wasn't computing either, you know, 251 00:12:16,840 --> 00:12:20,960 Speaker 3: and I was just really stunned. And it took it 252 00:12:21,000 --> 00:12:23,760 Speaker 3: took a day for me to really start to cry, 253 00:12:24,080 --> 00:12:27,559 Speaker 3: you know, because it just it ver close to him, yeah, yeah, 254 00:12:27,679 --> 00:12:30,000 Speaker 3: very close, and it just wasn't making sense, you know. 255 00:12:30,559 --> 00:12:33,319 Speaker 3: So it's interesting. I mean, it's been ten years on 256 00:12:33,400 --> 00:12:35,800 Speaker 3: it'll be ten years actually next week that he's since 257 00:12:35,840 --> 00:12:39,120 Speaker 3: his passing, and but it's just interesting. As an actor, 258 00:12:39,120 --> 00:12:41,240 Speaker 3: this sounds so cold and callous and it's not. It's 259 00:12:41,280 --> 00:12:43,000 Speaker 3: not meant to be. But as an actor, there was 260 00:12:43,040 --> 00:12:44,960 Speaker 3: a part of me that was sort of floating away 261 00:12:45,000 --> 00:12:47,720 Speaker 3: from my body watching the scene, going, I don't think 262 00:12:47,760 --> 00:12:50,120 Speaker 3: you're having the right reaction, right, you know, I don't 263 00:12:50,120 --> 00:12:53,000 Speaker 3: think process. Yeah, yeah, that's not you know, if this 264 00:12:53,040 --> 00:12:56,160 Speaker 3: were a scene you'd fall to the ground and you know, 265 00:12:56,200 --> 00:12:58,319 Speaker 3: break into a million pieces, and you're not doing that. 266 00:12:58,360 --> 00:13:02,360 Speaker 3: You're you're playing the scene. It's so strange. But actually 267 00:13:02,440 --> 00:13:04,960 Speaker 3: I know exactly when I really started to cry about 268 00:13:05,000 --> 00:13:09,120 Speaker 3: my dad's passing and it was I I found out. 269 00:13:09,640 --> 00:13:11,240 Speaker 3: We were getting ready to open one hundred and ten 270 00:13:11,240 --> 00:13:12,880 Speaker 3: in the Shade, and so we're getting ready to go 271 00:13:12,920 --> 00:13:15,240 Speaker 3: into critics Week where critics are coming and they're saying 272 00:13:15,440 --> 00:13:17,800 Speaker 3: I'm saying I have to go, and they're saying, you're 273 00:13:17,840 --> 00:13:20,080 Speaker 3: the star of the show. You can't leave as I 274 00:13:20,160 --> 00:13:23,280 Speaker 3: have to. And so they canceled a couple of shows 275 00:13:23,280 --> 00:13:25,040 Speaker 3: so I could fly home to California. 276 00:13:25,520 --> 00:13:27,840 Speaker 4: This is for their father's funeral. Yeah, they said, you 277 00:13:27,880 --> 00:13:28,319 Speaker 4: can't leave. 278 00:13:28,600 --> 00:13:30,680 Speaker 3: Well know, they were just they were like, how do 279 00:13:30,720 --> 00:13:32,320 Speaker 3: we do this? You know? And actually it was at 280 00:13:32,320 --> 00:13:34,920 Speaker 3: the end of it was like right at Tony, what's 281 00:13:34,920 --> 00:13:37,440 Speaker 3: it called it? When it's the cutoff time? Qualification time? 282 00:13:37,520 --> 00:13:40,559 Speaker 3: So everybody was like, what do we do? So they 283 00:13:40,559 --> 00:13:42,839 Speaker 3: were kind enough to cancel enough shows for me to 284 00:13:42,920 --> 00:13:46,240 Speaker 3: run home for the funeral and trying to work that 285 00:13:46,320 --> 00:13:49,640 Speaker 3: out with my stepmom who was devastated and you know, 286 00:13:49,840 --> 00:13:52,600 Speaker 3: really broken, and trying to keep her together and keep 287 00:13:52,600 --> 00:13:54,200 Speaker 3: the family together and figure it all out. And it 288 00:13:54,240 --> 00:13:57,840 Speaker 3: wasn't until after the funeral you're saying hello to everybody. 289 00:13:57,840 --> 00:13:59,760 Speaker 3: And I just kind of kept it together the whole time. 290 00:13:59,840 --> 00:14:03,160 Speaker 3: And then as soon as I agreed it like the 291 00:14:03,200 --> 00:14:05,440 Speaker 3: thirtieth person or something here, like a thousand people at 292 00:14:05,440 --> 00:14:08,200 Speaker 3: his funeral. He was very, very well known and very 293 00:14:08,720 --> 00:14:14,040 Speaker 3: loved in Fresno, California. And his older sister came and said, 294 00:14:14,040 --> 00:14:14,640 Speaker 3: how you doing. 295 00:14:17,120 --> 00:14:18,880 Speaker 4: And that's when I lost it, when you emptied out. 296 00:14:18,960 --> 00:14:20,800 Speaker 3: I emptied out. But it was you know, But once again, 297 00:14:20,840 --> 00:14:23,960 Speaker 3: that's not how I mean. Maybe maybe a good director, 298 00:14:23,960 --> 00:14:25,880 Speaker 3: but that's not how I just imagine the film. 299 00:14:25,880 --> 00:14:26,600 Speaker 4: It was an actress. 300 00:14:26,600 --> 00:14:29,720 Speaker 1: You're always controlling and managing your feelings. Anyway, there was 301 00:14:29,840 --> 00:14:32,360 Speaker 1: the lovers and knobs and dials inside of us. They 302 00:14:32,480 --> 00:14:33,880 Speaker 1: was in there playing with all the yes. 303 00:14:33,920 --> 00:14:35,480 Speaker 4: Of course that we get paid for. You know. 304 00:14:36,240 --> 00:14:38,440 Speaker 1: So you moved to Fresno when you grew up in 305 00:14:38,480 --> 00:14:39,800 Speaker 1: Fresno beginning at what age? 306 00:14:40,240 --> 00:14:41,320 Speaker 3: I was nine months old? 307 00:14:41,320 --> 00:14:43,080 Speaker 4: To me, here's your little baby. So you're a child. 308 00:14:43,160 --> 00:14:46,600 Speaker 1: And so there's the Order of McDonald who grows up 309 00:14:46,640 --> 00:14:49,960 Speaker 1: in California. Yeah, there's the Order of McDonald, who now 310 00:14:50,080 --> 00:14:54,040 Speaker 1: is one of the princesses of the Broadway Theater. There's 311 00:14:54,080 --> 00:14:56,440 Speaker 1: like a Mount Rushmore. It's you and burned Itad and 312 00:14:56,480 --> 00:14:58,640 Speaker 1: all these chicks. Now, who are these the greatest singers 313 00:14:58,680 --> 00:15:01,640 Speaker 1: in the world, and I want to talk about the 314 00:15:01,760 --> 00:15:05,280 Speaker 1: order in between. So the order in between when you 315 00:15:05,320 --> 00:15:08,160 Speaker 1: first started into the business, when people are hiring you, 316 00:15:08,240 --> 00:15:10,680 Speaker 1: and as you're building your career in New York and singing, 317 00:15:11,080 --> 00:15:12,480 Speaker 1: what were they hiring you for? 318 00:15:12,880 --> 00:15:15,520 Speaker 3: Well, I think it had more to do with if 319 00:15:15,560 --> 00:15:17,320 Speaker 3: I look back on it now, and no one's ever 320 00:15:17,360 --> 00:15:21,480 Speaker 3: asked me this, So kudos to you. Well, I do try, 321 00:15:21,920 --> 00:15:26,480 Speaker 3: You've got the talent, but I think it had more 322 00:15:26,520 --> 00:15:31,960 Speaker 3: to do with I wasn't what people were expecting, you know, 323 00:15:32,240 --> 00:15:34,520 Speaker 3: back in those days. Can I say back in those days, yeah, 324 00:15:34,600 --> 00:15:37,400 Speaker 3: the early nineties. You know, you'd go an audition for 325 00:15:37,440 --> 00:15:40,920 Speaker 3: something and they'd see an African American girl in her 326 00:15:40,960 --> 00:15:43,160 Speaker 3: twenties walk in, and I think they'd expect some big 327 00:15:43,160 --> 00:15:46,080 Speaker 3: gospel voice, or you know, they're like, can you be 328 00:15:46,160 --> 00:15:48,840 Speaker 3: street smart? You know all those code words and whatnot, 329 00:15:49,240 --> 00:15:51,240 Speaker 3: and I would sort of break out with the pseudo 330 00:15:51,520 --> 00:15:56,200 Speaker 3: operatic voice that had Broadway qualities and was a bit goofy, 331 00:15:57,680 --> 00:16:00,440 Speaker 3: and so I think it just intrigued people and anything. 332 00:16:00,440 --> 00:16:02,360 Speaker 3: I think that's even how I got into Juilliard. When 333 00:16:02,400 --> 00:16:04,560 Speaker 3: I auditioned for Juilliard and I wasn't you know, I 334 00:16:04,560 --> 00:16:07,080 Speaker 3: wasn't really wanting to pursue classical music, but I thought, 335 00:16:07,160 --> 00:16:09,800 Speaker 3: I'll audition on the strength of my voice. That's that's 336 00:16:09,480 --> 00:16:10,520 Speaker 3: my strength. 337 00:16:10,680 --> 00:16:12,040 Speaker 4: Was that a goal to go to Juilliard? 338 00:16:12,240 --> 00:16:14,000 Speaker 3: Well, I wanted to go to New York. I wanted 339 00:16:14,000 --> 00:16:16,120 Speaker 3: to live in New York Juilliard. Was it Lincoln Center, 340 00:16:16,320 --> 00:16:17,000 Speaker 3: you know, you know. 341 00:16:17,120 --> 00:16:18,240 Speaker 4: The good beginning. 342 00:16:18,440 --> 00:16:20,640 Speaker 3: Yeah, And I thought I'd be able to get like 343 00:16:20,680 --> 00:16:22,800 Speaker 3: my acting classes in nancing class as well. I was there. 344 00:16:22,800 --> 00:16:25,040 Speaker 3: I didn't realize that once you're in a program, once 345 00:16:25,120 --> 00:16:29,320 Speaker 3: you're in department, you know, you shall not stray. You 346 00:16:29,400 --> 00:16:32,560 Speaker 3: stay in that department, and you know, so I just 347 00:16:32,600 --> 00:16:34,200 Speaker 3: went in there an audition, didn't really know what I 348 00:16:34,240 --> 00:16:36,240 Speaker 3: was doing, and kind of riffed at the end of 349 00:16:36,280 --> 00:16:38,600 Speaker 3: a Mozart area. You're not supposed to rift with Mozart, 350 00:16:38,640 --> 00:16:40,720 Speaker 3: and I did. And I said, I was a meto 351 00:16:40,760 --> 00:16:44,000 Speaker 3: soprano and I'm singing subrette, you know, roles for them, 352 00:16:44,080 --> 00:16:46,600 Speaker 3: showing them. I sang a subrette Aria from the note 353 00:16:46,640 --> 00:16:48,120 Speaker 3: to figure out maryagifigure out. 354 00:16:48,160 --> 00:16:50,240 Speaker 4: And so for people who don't know what subrette is, 355 00:16:50,280 --> 00:16:51,720 Speaker 4: what is that? I'm one of those people. 356 00:16:51,720 --> 00:16:54,560 Speaker 3: By the way you, Dorett, Well, Subrette is sort of 357 00:16:54,560 --> 00:16:58,080 Speaker 3: like a really high light soprano, not necessarily coloratura, but 358 00:16:58,120 --> 00:17:01,960 Speaker 3: she's like a young, sweet heroin hype lighter sound, not 359 00:17:02,040 --> 00:17:08,040 Speaker 3: like a full lyric soprano. And so it's a lot 360 00:17:08,040 --> 00:17:10,600 Speaker 3: of people say the ena roles despina, or it's theerlena, 361 00:17:10,720 --> 00:17:13,720 Speaker 3: the little cute roles. So anyway, that's what I sang. 362 00:17:13,760 --> 00:17:15,280 Speaker 3: I sang one of those arias. But then I said 363 00:17:15,280 --> 00:17:18,239 Speaker 3: I'm a mezzo soprano, which I just was just that 364 00:17:18,320 --> 00:17:21,320 Speaker 3: just showed how much I didn't know, how little I do. 365 00:17:22,080 --> 00:17:25,160 Speaker 3: And they laughed at me and they said how old 366 00:17:25,160 --> 00:17:27,760 Speaker 3: are you And I said I'm seventeen and they just 367 00:17:27,800 --> 00:17:30,439 Speaker 3: said okay, And I thought, well, I blew that. And 368 00:17:30,440 --> 00:17:33,600 Speaker 3: then two weeks later they called me and said we 369 00:17:33,600 --> 00:17:35,440 Speaker 3: want you to come to Juilliard. But I don't think 370 00:17:35,560 --> 00:17:37,640 Speaker 3: I think it was just intrigue on their part. 371 00:17:37,720 --> 00:17:41,479 Speaker 4: Are you there for four years? Well, would you start working? 372 00:17:41,840 --> 00:17:44,879 Speaker 3: No? I was there for five years, but. 373 00:17:44,960 --> 00:17:46,360 Speaker 4: You finished there, you graduated from there? 374 00:17:46,440 --> 00:17:48,760 Speaker 3: Yeah, I took a leave of absence because I had 375 00:17:48,760 --> 00:17:51,240 Speaker 3: a suicide attempt actually while I was there, So I 376 00:17:51,240 --> 00:17:53,040 Speaker 3: took a leave of absence there's a lot that happened 377 00:17:53,040 --> 00:17:55,480 Speaker 3: between the Order and Fresnor, California and the Order who's 378 00:17:55,560 --> 00:17:56,360 Speaker 3: on Broadway. 379 00:17:56,560 --> 00:17:59,040 Speaker 4: Now, okay, we're going to cover as much of that 380 00:17:59,080 --> 00:18:00,200 Speaker 4: as you care to time. 381 00:18:00,440 --> 00:18:01,719 Speaker 3: I'm completely open about it. 382 00:18:02,680 --> 00:18:06,000 Speaker 1: So you're in Juilliard, Yeah, what years was that? That 383 00:18:06,040 --> 00:18:07,240 Speaker 1: five years was from when to when? 384 00:18:07,359 --> 00:18:09,280 Speaker 3: It was from nineteen eighty eight to nineteen ninety three. 385 00:18:09,440 --> 00:18:12,960 Speaker 1: Right, So when you're there, was it trouble for you 386 00:18:13,040 --> 00:18:15,240 Speaker 1: fitting in? Did you feel uncomfortable and out of place? 387 00:18:15,280 --> 00:18:15,480 Speaker 2: There? 388 00:18:15,600 --> 00:18:17,960 Speaker 4: Absolutely was that a part of what led you to 389 00:18:18,000 --> 00:18:18,600 Speaker 4: do what you did. 390 00:18:18,920 --> 00:18:22,360 Speaker 3: Yeah, I felt out of place artistically. I felt all 391 00:18:22,359 --> 00:18:24,480 Speaker 3: my life growing up in Prest, California, all I ever 392 00:18:24,480 --> 00:18:26,680 Speaker 3: wanted to do was beyond Broadway. And then I thought, 393 00:18:27,080 --> 00:18:29,440 Speaker 3: you know, let me audition for Juilliard. Just didn't think 394 00:18:29,480 --> 00:18:32,600 Speaker 3: it through audition, got in. So everybody back at home 395 00:18:32,680 --> 00:18:35,480 Speaker 3: is like, wow, Udra got into Juilliard in New York. 396 00:18:35,600 --> 00:18:37,800 Speaker 3: She's you know, she's gonna make it. And then I 397 00:18:37,840 --> 00:18:40,199 Speaker 3: get to Juilliard and I'm studying classical music. I'm like, 398 00:18:40,200 --> 00:18:41,399 Speaker 3: this isn't what I want to do. I don't want 399 00:18:41,400 --> 00:18:43,560 Speaker 3: to be an apt for singer. Why surely they're going 400 00:18:43,600 --> 00:18:45,919 Speaker 3: to let me go take some acting classes, surely go 401 00:18:45,960 --> 00:18:47,639 Speaker 3: do some dance lists, and surely didn't go an audition 402 00:18:47,720 --> 00:18:51,640 Speaker 3: for Broadway shows. No, you have to just study, you know. 403 00:18:51,720 --> 00:18:52,600 Speaker 4: You are enjoying it. 404 00:18:52,840 --> 00:18:55,840 Speaker 3: No, And I felt lost. I felt completely lost. I 405 00:18:55,840 --> 00:18:56,920 Speaker 3: felt like I was. 406 00:18:56,880 --> 00:18:57,520 Speaker 4: Offered about that. 407 00:18:57,840 --> 00:19:01,560 Speaker 1: But that alone, I'm assuming, if I'm wrong, didn't lead 408 00:19:01,600 --> 00:19:02,760 Speaker 1: you to do something drastic. 409 00:19:02,800 --> 00:19:03,200 Speaker 4: What else? 410 00:19:03,320 --> 00:19:04,919 Speaker 3: No, I mean, well, you know, to an extent, you 411 00:19:04,920 --> 00:19:07,600 Speaker 3: can say, yeah, well, you know, like I said, I'm 412 00:19:07,640 --> 00:19:11,000 Speaker 3: open about it, because you know, I think I'm a 413 00:19:11,000 --> 00:19:13,879 Speaker 3: case of it. It gets better, you know. But I 414 00:19:13,960 --> 00:19:15,840 Speaker 3: so I was lost in terms of that, and then 415 00:19:15,840 --> 00:19:18,040 Speaker 3: feeling like I couldn't just quit and go back home 416 00:19:18,359 --> 00:19:20,280 Speaker 3: because I would look like a failure back at home 417 00:19:21,000 --> 00:19:23,440 Speaker 3: And you know, I had boy trouble while I was there. 418 00:19:23,720 --> 00:19:27,280 Speaker 3: And so the culmination of being where I wanted to 419 00:19:27,320 --> 00:19:30,159 Speaker 3: be in New York City, thinking I'm finally going to 420 00:19:30,200 --> 00:19:34,760 Speaker 3: realize my dreams, stuck and failing miserably at Juilliard, not 421 00:19:34,800 --> 00:19:36,760 Speaker 3: being able to admit to anybody at home what was 422 00:19:36,800 --> 00:19:38,480 Speaker 3: going on, Not being able to go home because I 423 00:19:38,480 --> 00:19:41,800 Speaker 3: would have looked like a failure living literally on Broadway 424 00:19:42,480 --> 00:19:46,800 Speaker 3: on Broadway my apartment. My address was Broadway twenty five 425 00:19:46,880 --> 00:19:51,440 Speaker 3: oh eight Broadway third. I lived with the residential the 426 00:19:51,480 --> 00:19:53,600 Speaker 3: old Broadway like well, the wild wild West. 427 00:19:55,680 --> 00:19:57,639 Speaker 4: Anything north of Baby sixth Street, forget it. 428 00:19:57,720 --> 00:19:58,640 Speaker 3: You did not in those days. 429 00:19:58,760 --> 00:20:01,280 Speaker 4: You shield and a sword to go to the grocery store. 430 00:20:01,080 --> 00:20:03,080 Speaker 3: Right and crazy to look at it now, Oh my goodness. 431 00:20:03,119 --> 00:20:05,439 Speaker 1: But what I'm curious about is that the woman, the 432 00:20:05,520 --> 00:20:11,680 Speaker 1: young woman from Fresno, who goes to New York. And again, 433 00:20:12,480 --> 00:20:14,160 Speaker 1: let me put a fine point of this before you answer, 434 00:20:14,160 --> 00:20:16,040 Speaker 1: which is, and you say you have boy troubles? Are 435 00:20:16,080 --> 00:20:19,680 Speaker 1: you dating a different kind of boy now with Juliet No, 436 00:20:19,960 --> 00:20:21,560 Speaker 1: the boys that were hard for you to understand? 437 00:20:21,640 --> 00:20:23,719 Speaker 3: No, I was, you know I was. 438 00:20:23,720 --> 00:20:24,480 Speaker 4: Was that all the same? 439 00:20:24,720 --> 00:20:27,920 Speaker 3: Well? I was just not being treated well by a boy. Yeah, 440 00:20:28,040 --> 00:20:29,120 Speaker 3: boys are the same. 441 00:20:29,320 --> 00:20:32,560 Speaker 4: All boys in the same week. Yeah, Ok, thank you. 442 00:20:33,160 --> 00:20:36,159 Speaker 4: My guest has been Augum McDonald. Everyone, good night, everybody. 443 00:20:36,320 --> 00:20:38,399 Speaker 1: No, but but but but The reason I asked this, 444 00:20:38,440 --> 00:20:39,800 Speaker 1: I want to are you a fish out of water 445 00:20:39,880 --> 00:20:40,600 Speaker 1: in every way? 446 00:20:40,720 --> 00:20:42,520 Speaker 3: Yes? I was a fish out of water in every 447 00:20:42,520 --> 00:20:44,760 Speaker 3: way except for the fact that I was in New York, 448 00:20:44,880 --> 00:20:47,239 Speaker 3: which is what I knew I wanted. I knew that 449 00:20:47,320 --> 00:20:50,720 Speaker 3: much was right, but everything else I kept you grounded, yes, 450 00:20:50,800 --> 00:20:54,320 Speaker 3: but everything else was wrong. And so you know, in 451 00:20:54,359 --> 00:20:56,760 Speaker 3: those days, I was, you know, twenty twenty one. I 452 00:20:56,800 --> 00:20:59,160 Speaker 3: couldn't see past the fact that I had gotten here 453 00:20:59,240 --> 00:21:02,080 Speaker 3: and everything up to up to now had gone swimmingly, 454 00:21:02,080 --> 00:21:04,560 Speaker 3: and all of a sudden it was all falling apart. 455 00:21:05,080 --> 00:21:08,040 Speaker 1: And if you don't mind my asking what what were 456 00:21:08,080 --> 00:21:11,200 Speaker 1: the the ramp up the time and what you were 457 00:21:11,200 --> 00:21:13,080 Speaker 1: thinking and feeling. And the only reason I asked this 458 00:21:13,200 --> 00:21:15,240 Speaker 1: for people who listen to this, who might be young 459 00:21:15,280 --> 00:21:18,600 Speaker 1: people and artists who experience a certain kind of pain 460 00:21:18,680 --> 00:21:20,359 Speaker 1: that you experience in this business that I think is 461 00:21:20,440 --> 00:21:24,359 Speaker 1: very unique, because you exude in your work. You seem 462 00:21:24,400 --> 00:21:26,119 Speaker 1: so confident and so powerful. 463 00:21:26,320 --> 00:21:29,480 Speaker 3: Well, I think it's because I'm now, I'm I'm where 464 00:21:29,480 --> 00:21:31,520 Speaker 3: I'm supposed to be. I'm doing what I'm supposed to 465 00:21:31,560 --> 00:21:33,760 Speaker 3: be doing. I'm doing what I think if you want 466 00:21:33,800 --> 00:21:35,320 Speaker 3: to get I don't. 467 00:21:35,160 --> 00:21:37,840 Speaker 4: Know, you're not playing the Eena roles anymore, No. 468 00:21:37,640 --> 00:21:41,560 Speaker 3: No, no, But I mean it's more about I'm artistically fulfilled. 469 00:21:41,680 --> 00:21:44,240 Speaker 3: I think my artistic soul is fulfilled. It's doing what 470 00:21:44,280 --> 00:21:47,360 Speaker 3: it's supposed to do. 471 00:21:56,600 --> 00:22:12,480 Speaker 5: You agree, look cappy to me. 472 00:22:16,040 --> 00:22:20,080 Speaker 1: Not that she doesn't still find challenges coming up. Audra 473 00:22:20,200 --> 00:22:22,840 Speaker 1: McDonald talks about a song that's been rather. 474 00:22:22,760 --> 00:22:23,680 Speaker 4: Hard to sing. 475 00:22:24,920 --> 00:22:28,520 Speaker 1: Audra McDonald isn't the only star who struggled to find 476 00:22:28,560 --> 00:22:29,080 Speaker 1: her voice. 477 00:22:29,480 --> 00:22:31,880 Speaker 6: I mean when I tell people I was extremely shy 478 00:22:31,920 --> 00:22:32,800 Speaker 6: and nobody believes me. 479 00:22:32,840 --> 00:22:34,520 Speaker 4: Now that's the thing that people have to overcome. 480 00:22:34,960 --> 00:22:35,960 Speaker 3: Yes, exactly. 481 00:22:36,119 --> 00:22:37,919 Speaker 6: You know, I've found a lot of comedians to be 482 00:22:37,960 --> 00:22:43,400 Speaker 6: extraordinarily serious and draws withdrawn sometimes, So yeah, I think 483 00:22:43,440 --> 00:22:46,120 Speaker 6: sometimes we overcome things by going after the very thing 484 00:22:46,160 --> 00:22:47,240 Speaker 6: that really eludes us. 485 00:22:47,560 --> 00:22:51,280 Speaker 1: To hear more about Renee Fleming's story, go to Hear's 486 00:22:51,320 --> 00:22:56,840 Speaker 1: Thething dot org. This is Alec Baldwin and you're listening 487 00:22:56,920 --> 00:22:59,960 Speaker 1: to Here's the Thing. If ever there was a track 488 00:23:00,119 --> 00:23:05,760 Speaker 1: record that warranted dividom, it is Audra McDonald's. But despite 489 00:23:05,800 --> 00:23:10,440 Speaker 1: her unparalleled fame, the Queen of Broadway is disarmingly humble, 490 00:23:11,000 --> 00:23:14,359 Speaker 1: perhaps the mark of a person who's endured great pain 491 00:23:14,920 --> 00:23:18,320 Speaker 1: in her case. While studying at Juilliard. 492 00:23:18,640 --> 00:23:22,359 Speaker 3: This was my third year and it had been just 493 00:23:22,520 --> 00:23:25,600 Speaker 3: yet another year of floundering and doing poorly in all 494 00:23:25,600 --> 00:23:29,000 Speaker 3: my classes, and teachers just saying you know, you've got 495 00:23:29,040 --> 00:23:31,760 Speaker 3: to give over to your operatic sound, and me not 496 00:23:32,080 --> 00:23:36,240 Speaker 3: wanting to, not knowing what that was. And when I 497 00:23:36,280 --> 00:23:38,320 Speaker 3: would get close to an operatic sound, I'd say, I 498 00:23:38,320 --> 00:23:40,840 Speaker 3: don't want to sound like that. So I felt like 499 00:23:40,880 --> 00:23:43,760 Speaker 3: I was just being pushed and they were doing their 500 00:23:43,840 --> 00:23:46,080 Speaker 3: job rightfully. So this is like, this is your Juilliard 501 00:23:46,119 --> 00:23:48,119 Speaker 3: to study. This is what you're going to do to 502 00:23:48,119 --> 00:23:51,520 Speaker 3: push me into a place that just wasn't me artistically. 503 00:23:51,600 --> 00:23:54,480 Speaker 3: So that coupled with being you know, twenty twenty one 504 00:23:54,560 --> 00:23:58,120 Speaker 3: by yourself in New York and being treated poorly by 505 00:23:59,240 --> 00:24:07,000 Speaker 3: whatever his name was, what's his name, We're that no, no, no, no, no, 506 00:24:07,000 --> 00:24:09,840 Speaker 3: he's he's fine. He's a great guy now. But at 507 00:24:09,840 --> 00:24:14,800 Speaker 3: any rate, So all of that combined with me being 508 00:24:14,840 --> 00:24:17,960 Speaker 3: sort of like the great hope from my hometown too. 509 00:24:18,040 --> 00:24:19,879 Speaker 3: You know, Order's gonna make it. If anybody's gonna make 510 00:24:19,880 --> 00:24:23,640 Speaker 3: it on Broadway, it's going to be Order. I I 511 00:24:23,920 --> 00:24:26,200 Speaker 3: the boy was the catalyst that sort of like sort 512 00:24:26,200 --> 00:24:27,399 Speaker 3: of broke that. It was a star that broke the 513 00:24:27,440 --> 00:24:31,159 Speaker 3: camel's back. But it was three years of I'm in 514 00:24:31,200 --> 00:24:33,880 Speaker 3: the wrong place, doing the wrong thing. I'm failing miserably 515 00:24:34,640 --> 00:24:37,879 Speaker 3: but I'm here in Disneyland, where I'm supposed to be, 516 00:24:37,920 --> 00:24:39,000 Speaker 3: where I said I wanted to be. 517 00:24:39,240 --> 00:24:40,199 Speaker 4: So I sord you do. 518 00:24:41,040 --> 00:24:44,280 Speaker 3: I I slit my wrists one night. 519 00:24:45,040 --> 00:24:48,239 Speaker 4: What happened? And written about this? 520 00:24:48,320 --> 00:24:50,600 Speaker 3: I haven't, I guess I should. I speak about it 521 00:24:50,640 --> 00:24:52,920 Speaker 3: all the time, but maybe one day I'll write about it. 522 00:24:53,280 --> 00:24:57,040 Speaker 3: Found you, I I I slipped my wrists and then 523 00:24:57,480 --> 00:25:00,680 Speaker 3: realized what I had done and called the Sudent affairs 524 00:25:00,720 --> 00:25:02,920 Speaker 3: director who I had become close with, and. 525 00:25:02,960 --> 00:25:06,360 Speaker 4: Said, I helped me, and someone came and helped you. 526 00:25:06,400 --> 00:25:08,000 Speaker 3: And they helped me, and they took me to a 527 00:25:08,560 --> 00:25:14,639 Speaker 3: mental hospital. It's interesting this mental hospital still there, Gracie 528 00:25:14,640 --> 00:25:21,719 Speaker 3: Square Hospital. It's next door to my ob gyn who 529 00:25:21,800 --> 00:25:24,840 Speaker 3: delivered my six month old. 530 00:25:24,960 --> 00:25:27,720 Speaker 4: That's what a circuit that is. So I almost didn't 531 00:25:27,760 --> 00:25:29,240 Speaker 4: make it, and now I made it and I'm in this. 532 00:25:30,840 --> 00:25:32,520 Speaker 3: I had to pass it, you know, every week to 533 00:25:32,520 --> 00:25:34,680 Speaker 3: go to my obgyn appointment, I had to pass Gracie 534 00:25:34,680 --> 00:25:37,320 Speaker 3: Square Hospital. And every time I passed it, there was 535 00:25:37,320 --> 00:25:39,000 Speaker 3: a part of me just, you know, waddling down the 536 00:25:39,000 --> 00:25:42,320 Speaker 3: street pregnant as can be. Some twenty nine years later, 537 00:25:42,880 --> 00:25:47,440 Speaker 3: I would I would. I felt such relief and joy 538 00:25:47,760 --> 00:25:52,080 Speaker 3: and you know, a sense of yes, I get the 539 00:25:52,080 --> 00:25:52,600 Speaker 3: big picture. 540 00:25:52,640 --> 00:25:54,440 Speaker 4: Now, what month in the school year was that that 541 00:25:54,440 --> 00:25:55,040 Speaker 4: that happened. 542 00:25:55,240 --> 00:25:57,000 Speaker 3: It was January or February. 543 00:25:56,680 --> 00:25:58,320 Speaker 4: So it was at the midpoint. 544 00:25:58,400 --> 00:26:00,359 Speaker 1: Let's say, and you take off office and you come 545 00:26:00,400 --> 00:26:02,320 Speaker 1: back when you come back the following fall, you don't. 546 00:26:02,480 --> 00:26:06,280 Speaker 3: I came back the following fall for a little bit, 547 00:26:06,640 --> 00:26:11,120 Speaker 3: and then I got an opportunity to audition for something 548 00:26:11,240 --> 00:26:13,960 Speaker 3: that ended up that I ended up being the secret 549 00:26:14,000 --> 00:26:18,879 Speaker 3: Garden actually, and I asked the you know, administration office 550 00:26:18,920 --> 00:26:21,359 Speaker 3: and my the dean, what I should do, and they said, 551 00:26:21,400 --> 00:26:24,840 Speaker 3: you know, go do that. It's okay, take the time 552 00:26:24,880 --> 00:26:26,920 Speaker 3: off to go do that. It seems like that's where 553 00:26:26,960 --> 00:26:27,520 Speaker 3: you want to be. 554 00:26:27,760 --> 00:26:31,320 Speaker 4: So and they probably didn't want to disappoint. 555 00:26:30,880 --> 00:26:31,800 Speaker 3: You at that point. 556 00:26:31,800 --> 00:26:34,600 Speaker 4: At that point they were like, sure, go go, you 557 00:26:34,600 --> 00:26:35,360 Speaker 4: want to go sing on. 558 00:26:35,760 --> 00:26:36,639 Speaker 3: Go go do it. 559 00:26:36,720 --> 00:26:38,360 Speaker 4: Yeah, we don't ever want to get your way. 560 00:26:38,560 --> 00:26:40,639 Speaker 3: You know. The thing is there was actually a lot, 561 00:26:41,040 --> 00:26:44,320 Speaker 3: not a lot, but they had a special arrangement with 562 00:26:44,359 --> 00:26:46,840 Speaker 3: Gracie Square Hospital. There were a couple of other Juilliard 563 00:26:46,880 --> 00:26:50,159 Speaker 3: students there that I had wondered what had happened to 564 00:26:50,880 --> 00:26:52,240 Speaker 3: I was there. I was at the hospital for me, 565 00:26:52,440 --> 00:26:54,080 Speaker 3: but Grace's Square, I thinks private hospital. I was there 566 00:26:54,119 --> 00:26:57,680 Speaker 3: for a month. They evaluated me and said, you you're 567 00:26:57,680 --> 00:26:58,680 Speaker 3: not going anytime soon. 568 00:26:59,760 --> 00:27:00,959 Speaker 4: And did that change you? 569 00:27:02,320 --> 00:27:06,360 Speaker 3: I was so heavily medicated. I was heavily medicated. 570 00:27:06,640 --> 00:27:10,080 Speaker 1: When you say that, it's so compelling to me because 571 00:27:10,119 --> 00:27:11,520 Speaker 1: when I see you, I think of you. I think 572 00:27:11,520 --> 00:27:14,840 Speaker 1: of you like you know, you're so strong your personality 573 00:27:14,880 --> 00:27:16,919 Speaker 1: and performance. I view you as a person that's going 574 00:27:16,960 --> 00:27:19,480 Speaker 1: to go. I'm going back into the burning building to 575 00:27:19,560 --> 00:27:20,640 Speaker 1: save the baby. 576 00:27:20,640 --> 00:27:23,199 Speaker 3: Well that is me now, yeah, but I think maybe 577 00:27:23,240 --> 00:27:27,280 Speaker 3: that experience helped make me that now. I mean, look, 578 00:27:27,480 --> 00:27:29,399 Speaker 3: I'm still a mess. I mean everybody's a mess, always 579 00:27:29,440 --> 00:27:31,520 Speaker 3: a mess, I you know, and I when I understood 580 00:27:31,880 --> 00:27:33,399 Speaker 3: a lot going on, Yeah, and I realized, you know, 581 00:27:33,440 --> 00:27:37,560 Speaker 3: I'm someone who suffers from depression. But I learned in 582 00:27:37,600 --> 00:27:39,439 Speaker 3: the years a how to deal with it. B to 583 00:27:39,520 --> 00:27:41,960 Speaker 3: find you know, find my joy and see to realize that, 584 00:27:42,200 --> 00:27:44,680 Speaker 3: like alcoholism, it's something that you wake up every day 585 00:27:44,720 --> 00:27:46,720 Speaker 3: and you say, yeah, that's still something that I have 586 00:27:46,840 --> 00:27:49,080 Speaker 3: to deal with, as opposed to saying, oh, I'm just 587 00:27:49,080 --> 00:27:51,359 Speaker 3: not depressed anymore. Just but to learn how to cope 588 00:27:51,400 --> 00:27:56,080 Speaker 3: with that, and my art gives me a lot of 589 00:27:56,200 --> 00:27:58,359 Speaker 3: joy and keeps me, keeps me strong. 590 00:27:58,600 --> 00:28:00,399 Speaker 4: So what's the first job you do? 591 00:28:00,560 --> 00:28:02,280 Speaker 1: This is a tired question, but I can't help back 592 00:28:02,280 --> 00:28:04,119 Speaker 1: and ask you, especially with somebody like you, what's the 593 00:28:04,160 --> 00:28:05,520 Speaker 1: first job when you do? 594 00:28:06,040 --> 00:28:07,760 Speaker 4: When you sit there and go, I got this. 595 00:28:07,920 --> 00:28:10,880 Speaker 3: I think I got this, like I'm over the. 596 00:28:10,920 --> 00:28:13,480 Speaker 1: No no meaning you know that the sky is the 597 00:28:13,520 --> 00:28:15,639 Speaker 1: limit for you. You're out there and you're doing it, 598 00:28:15,920 --> 00:28:19,159 Speaker 1: and you're connecting to that material, you know, and you go, 599 00:28:19,240 --> 00:28:21,119 Speaker 1: I think I really really have a shot at my 600 00:28:21,200 --> 00:28:22,000 Speaker 1: dream coming true. 601 00:28:22,040 --> 00:28:22,240 Speaker 2: Here. 602 00:28:22,920 --> 00:28:25,720 Speaker 3: It was Sally Murphy and she was she was Julie Jordan, 603 00:28:25,760 --> 00:28:27,760 Speaker 3: and I played Kerry Pippridge and it was the guy 604 00:28:28,040 --> 00:28:31,720 Speaker 3: Michael Hayden was with Hayden, Yes, yes, yes, Nick Heitner 605 00:28:31,720 --> 00:28:34,320 Speaker 3: at Lincoln Center, which is also crazy for me to 606 00:28:34,359 --> 00:28:39,280 Speaker 3: then open, you know, in Carousel at Lincoln Center, where 607 00:28:39,560 --> 00:28:42,080 Speaker 3: at Vivian Momont Theater where you can look up and 608 00:28:42,120 --> 00:28:45,080 Speaker 3: I can see the school that I, you know, had 609 00:28:45,080 --> 00:28:48,600 Speaker 3: a hard time in and and I remember standing in 610 00:28:48,640 --> 00:28:52,880 Speaker 3: those in those windows at Juilliard looking at Vivian Beaumont, 611 00:28:52,920 --> 00:28:55,520 Speaker 3: seeing Patty Lapone performing there and going why am I 612 00:28:55,560 --> 00:29:05,560 Speaker 3: not doing that? And then how'd you feel like the 613 00:29:05,640 --> 00:29:09,160 Speaker 3: luckiest survivor in the world. I mean, and I felt 614 00:29:09,200 --> 00:29:13,640 Speaker 3: a sense of gratitude, a sense of relief, and a 615 00:29:13,720 --> 00:29:17,680 Speaker 3: sense of Okay, I get it. I now get that 616 00:29:17,800 --> 00:29:19,040 Speaker 3: I was on my path. 617 00:29:19,840 --> 00:29:22,920 Speaker 1: Out the window of one place is your future. Out 618 00:29:22,920 --> 00:29:25,760 Speaker 1: the window of Juilliard where you try to snuff yourself 619 00:29:26,280 --> 00:29:28,160 Speaker 1: is the Vivian Beaumont where you're going to do. 620 00:29:28,160 --> 00:29:30,720 Speaker 4: Carousel across the street. It's always a vista for you 621 00:29:30,880 --> 00:29:31,400 Speaker 4: what might. 622 00:29:31,280 --> 00:29:36,360 Speaker 1: Have been was, which was something not bad and wonderful? Yeah, 623 00:29:36,440 --> 00:29:38,960 Speaker 1: I mean babies and Tony Awards and all that stuff. 624 00:29:39,040 --> 00:29:41,720 Speaker 3: I think, I think what it realizes there's a bigger picture. 625 00:29:41,960 --> 00:29:43,920 Speaker 3: And I think, you know, it's very easy to, you know, 626 00:29:44,000 --> 00:29:46,160 Speaker 3: just get into tunnel vision, especially when you're young and 627 00:29:46,840 --> 00:29:49,240 Speaker 3: you know it's only you that you're having to think about. 628 00:29:49,280 --> 00:29:51,080 Speaker 3: And not that that's a bad thing, but it's just 629 00:29:51,160 --> 00:29:58,040 Speaker 3: easy to get buried very quickly under emotion and fear 630 00:29:58,200 --> 00:30:01,400 Speaker 3: and disappointment and all that. And I just think that 631 00:30:01,480 --> 00:30:05,040 Speaker 3: I learned to have a bigger picture about life. 632 00:30:05,680 --> 00:30:10,000 Speaker 1: We're taking a break, so stay with us. Once you 633 00:30:10,120 --> 00:30:13,640 Speaker 1: become extraordinarily successful, in the busin You won your first 634 00:30:13,680 --> 00:30:14,640 Speaker 1: Tony Award for what show? 635 00:30:15,160 --> 00:30:16,360 Speaker 4: For Carousel? And you're how old? 636 00:30:16,640 --> 00:30:17,280 Speaker 3: Twenty three? 637 00:30:17,640 --> 00:30:20,720 Speaker 1: Your child and you when you you were fresh out 638 00:30:20,760 --> 00:30:22,600 Speaker 1: of that situation, You weren't far that far removed from 639 00:30:22,600 --> 00:30:23,120 Speaker 1: that situation. 640 00:30:23,320 --> 00:30:24,760 Speaker 3: Was two and a half years away from that situation 641 00:30:24,920 --> 00:30:25,040 Speaker 3: and a. 642 00:30:25,040 --> 00:30:27,280 Speaker 1: Half years later, which is nothing. Yeah, you win a 643 00:30:27,280 --> 00:30:29,960 Speaker 1: Tony Award and you've won six Tony Awards. Yes, you 644 00:30:30,040 --> 00:30:31,920 Speaker 1: won the most Tony Awards of anybody. Are you tied 645 00:30:31,960 --> 00:30:33,360 Speaker 1: with somebody you're tied with? 646 00:30:33,600 --> 00:30:37,080 Speaker 3: No? Not with that. 647 00:30:39,520 --> 00:30:39,600 Speaker 7: No. 648 00:30:39,680 --> 00:30:39,920 Speaker 2: I love. 649 00:30:40,320 --> 00:30:41,880 Speaker 4: I love when people sit there and they go, oh, 650 00:30:41,920 --> 00:30:44,200 Speaker 4: I don't know. I don't keep track of that. I go, you, liar, 651 00:30:44,600 --> 00:30:46,120 Speaker 4: you got all your Tonys lined up? 652 00:30:46,400 --> 00:30:46,720 Speaker 3: They do. 653 00:30:47,680 --> 00:30:49,720 Speaker 4: No, I'm not you. I'm saying, but people in general, 654 00:30:50,680 --> 00:30:52,960 Speaker 4: I doubt you do. To actually, but to embarrass you 655 00:30:53,040 --> 00:30:54,400 Speaker 4: even more than I already have. 656 00:30:54,560 --> 00:30:55,160 Speaker 3: Oh good god. 657 00:30:55,320 --> 00:30:58,680 Speaker 1: You are enormously talented and everything clicks, and you're very, 658 00:30:58,760 --> 00:31:02,480 Speaker 1: very successful, and you're gorgeous woman. Well you're a gorgeous woman. 659 00:31:03,000 --> 00:31:05,680 Speaker 1: And what did that do in terms of your career, 660 00:31:05,880 --> 00:31:08,400 Speaker 1: meaning that you could have gone and made films and 661 00:31:08,400 --> 00:31:10,560 Speaker 1: then a television series. Did you have a lot of 662 00:31:10,560 --> 00:31:12,320 Speaker 1: offers you swept aside. 663 00:31:12,440 --> 00:31:14,920 Speaker 3: No, I've never had those offers. I mean, I did 664 00:31:14,960 --> 00:31:17,720 Speaker 3: one television series once where I played the best friend 665 00:31:18,080 --> 00:31:22,480 Speaker 3: in Private Practice to the main character show Private Practice, 666 00:31:23,680 --> 00:31:27,160 Speaker 3: Kate Walsh played Addison Montgomery and I played her best friend. 667 00:31:27,200 --> 00:31:27,640 Speaker 4: Did you do that? 668 00:31:28,080 --> 00:31:30,160 Speaker 3: I did it for five six years. The show ran 669 00:31:30,200 --> 00:31:31,640 Speaker 3: for seven years, and I did it for five or 670 00:31:31,640 --> 00:31:35,280 Speaker 3: six years. But no, Hollywood has never really banged down 671 00:31:35,320 --> 00:31:38,240 Speaker 3: on my doors. And I think that's because you're very 672 00:31:38,280 --> 00:31:40,440 Speaker 3: kind to say I'm gorgeous, but I don't think I'm 673 00:31:40,480 --> 00:31:44,840 Speaker 3: the typical sort of look. I'm also a big girl, 674 00:31:44,920 --> 00:31:47,040 Speaker 3: and I'm proud of that, and I'm fine with that. 675 00:31:47,200 --> 00:31:50,160 Speaker 3: But you know, it's interesting when you go to Hollywood 676 00:31:50,160 --> 00:31:52,040 Speaker 3: and you see these people on the movie screens your 677 00:31:52,120 --> 00:31:53,480 Speaker 3: entire life, and then you see them in person and 678 00:31:53,520 --> 00:31:57,360 Speaker 3: they're all like one fourth of them a taper airplay. 679 00:31:57,600 --> 00:32:00,320 Speaker 4: What the hell didn't look well? 680 00:32:00,360 --> 00:32:01,680 Speaker 3: Do you want a cheeseburger? 681 00:32:01,800 --> 00:32:02,040 Speaker 1: Yeah? 682 00:32:02,120 --> 00:32:03,800 Speaker 3: No, no, no, I mean it's saying look terrible, but it's 683 00:32:03,840 --> 00:32:05,280 Speaker 3: just for me. It's just like I, you know, I 684 00:32:05,320 --> 00:32:07,080 Speaker 3: think size wise that has something to do with it, 685 00:32:07,120 --> 00:32:10,120 Speaker 3: and I and I don't know that that's where I'm 686 00:32:10,280 --> 00:32:12,840 Speaker 3: at my strongest right, you know, And I think. 687 00:32:12,880 --> 00:32:15,160 Speaker 4: We work so hard to develop this perch you're in. 688 00:32:15,240 --> 00:32:17,640 Speaker 1: Now, what's that like for you to have to go 689 00:32:17,720 --> 00:32:20,720 Speaker 1: out and wring yourself out again? 690 00:32:20,720 --> 00:32:21,560 Speaker 4: Process every night? 691 00:32:21,720 --> 00:32:25,440 Speaker 3: Well, the process for me, I go really inside. I 692 00:32:25,480 --> 00:32:27,920 Speaker 3: get really quiet. People around me think that I'm angry 693 00:32:28,000 --> 00:32:30,720 Speaker 3: with them before I do a show because I just 694 00:32:30,760 --> 00:32:33,920 Speaker 3: get very quiet and I go inside and stay still, 695 00:32:34,360 --> 00:32:36,240 Speaker 3: and I'm not. I'm not one to kind of jump 696 00:32:36,280 --> 00:32:38,320 Speaker 3: around and go visit other dressing rooms. I just I 697 00:32:38,760 --> 00:32:40,800 Speaker 3: have to kind of go in and be super super 698 00:32:40,840 --> 00:32:44,960 Speaker 3: super quiet and still because focus. Yeah, because in a minute, 699 00:32:45,040 --> 00:32:47,040 Speaker 3: you're going to have to turn all of your insides out, 700 00:32:47,480 --> 00:32:49,880 Speaker 3: and so if I'm giving all that out beforehand, I 701 00:32:49,920 --> 00:32:50,880 Speaker 3: will have nothing to get. 702 00:32:51,200 --> 00:32:53,040 Speaker 4: One of the hardest ones for you, Lady Day. 703 00:32:53,320 --> 00:32:55,600 Speaker 3: Absolutely that was by myself on stage for an hour 704 00:32:55,640 --> 00:32:58,960 Speaker 3: and forty five minutes, just having to give it and 705 00:32:59,320 --> 00:33:01,800 Speaker 3: especially living that life that she led. I have to 706 00:33:01,920 --> 00:33:05,080 Speaker 3: have to live that on stage every night. That I 707 00:33:05,200 --> 00:33:07,240 Speaker 3: was no fun to be around before the show. After 708 00:33:07,280 --> 00:33:08,560 Speaker 3: the show, I was a ball. 709 00:33:09,720 --> 00:33:10,720 Speaker 4: Because that's very common. 710 00:33:10,840 --> 00:33:13,240 Speaker 3: Yes, because I was thrilled it was over until the 711 00:33:13,280 --> 00:33:15,840 Speaker 3: next you know, it's interesting. I know I can remember who. Oh, 712 00:33:15,880 --> 00:33:17,880 Speaker 3: maybe it was Kathy Bates. I can't remember who said 713 00:33:17,920 --> 00:33:19,520 Speaker 3: this to me, but I said, well, why don't you 714 00:33:19,520 --> 00:33:21,680 Speaker 3: ever come back to Broadway or do a show on Broadway? 715 00:33:21,680 --> 00:33:23,920 Speaker 3: And I think it was Kathy Bage. She said, oh, honey, 716 00:33:24,200 --> 00:33:27,480 Speaker 3: oh that's hard. It's hard, and she's right, you know 717 00:33:27,560 --> 00:33:30,000 Speaker 3: it is, because especially when you think, Okay, I've done it, 718 00:33:30,040 --> 00:33:33,200 Speaker 3: I've given a good performance. I got through that. You know, 719 00:33:33,200 --> 00:33:34,880 Speaker 3: when you're doing a film, you're like, great, it's in 720 00:33:34,880 --> 00:33:37,440 Speaker 3: the can and now I'm off the cub or whatever, 721 00:33:38,720 --> 00:33:40,400 Speaker 3: you know. But Broadway it's like, and now I have 722 00:33:40,480 --> 00:33:43,160 Speaker 3: to do that again tomorrow night, and then the next 723 00:33:43,240 --> 00:33:44,800 Speaker 3: night after that, the next and it's a blessing. 724 00:33:44,880 --> 00:33:45,760 Speaker 4: At the end of every day. 725 00:33:45,800 --> 00:33:47,960 Speaker 1: I gotta go to work exactly, you have that whole 726 00:33:48,040 --> 00:33:50,440 Speaker 1: day and what happens in that in the world. The 727 00:33:50,480 --> 00:33:52,080 Speaker 1: worst thing for me when I was acting was when 728 00:33:52,120 --> 00:33:54,840 Speaker 1: I have a wonderful, fun day and then I had 729 00:33:54,840 --> 00:33:56,440 Speaker 1: to go to work and wring myself out and some 730 00:33:56,600 --> 00:33:58,120 Speaker 1: drive to go do the Scottish play. 731 00:33:58,320 --> 00:34:01,160 Speaker 3: Yes, for me, it was always on Sunday matinee. When 732 00:34:01,160 --> 00:34:03,720 Speaker 3: you're headed to your Sunday matinee. You're walking down ninth 733 00:34:03,800 --> 00:34:06,760 Speaker 3: Abue and you're seeing everybody outside, either out of street 734 00:34:06,760 --> 00:34:08,760 Speaker 3: fair or having wine and runch. 735 00:34:09,160 --> 00:34:09,359 Speaker 4: Yeah. 736 00:34:09,400 --> 00:34:11,120 Speaker 3: And I can't tell you how many I saw in 737 00:34:11,160 --> 00:34:12,759 Speaker 3: the sun. I can't tell you how many times you're 738 00:34:12,760 --> 00:34:14,200 Speaker 3: walking down ninth Aaber you just want to take your 739 00:34:14,200 --> 00:34:17,280 Speaker 3: aunt and swipe all the food off of those sidewalk tables. 740 00:34:17,280 --> 00:34:19,400 Speaker 3: It's like, that's not fair. No, of course not. I 741 00:34:19,400 --> 00:34:21,000 Speaker 3: mean it's I'm doing what I wanted to do my 742 00:34:21,200 --> 00:34:22,319 Speaker 3: entire life. But there is that. 743 00:34:22,400 --> 00:34:24,760 Speaker 4: People are counting on you. Yes, amazing. 744 00:34:25,480 --> 00:34:27,600 Speaker 1: When I did Street Car, I got really sick and 745 00:34:27,640 --> 00:34:29,000 Speaker 1: I missed the show. I was out for it for 746 00:34:29,040 --> 00:34:31,920 Speaker 1: a weekend, the two Saturdays and the Sunday, and I 747 00:34:31,960 --> 00:34:34,960 Speaker 1: missed the show. But I go downstairs. I lived on 748 00:34:34,960 --> 00:34:37,320 Speaker 1: Central Park West. I go downstairs. I cross over to 749 00:34:37,360 --> 00:34:40,640 Speaker 1: Broadway an eighty sixth and Broadway on the northeast corner. 750 00:34:40,640 --> 00:34:43,080 Speaker 1: I'm gonna cross over to William's Chicken, Yes, and get 751 00:34:43,120 --> 00:34:43,680 Speaker 1: my soup. 752 00:34:43,840 --> 00:34:44,160 Speaker 3: Yes. 753 00:34:44,400 --> 00:34:46,160 Speaker 1: And I'm there and this little woman looks up to me. 754 00:34:46,239 --> 00:34:48,279 Speaker 1: It's like seven o'clock at night. It's a it's a 755 00:34:48,320 --> 00:34:50,719 Speaker 1: Friday night or a Saturday night. Rather and She. 756 00:34:50,680 --> 00:34:52,520 Speaker 4: Looks up to me, this little owlish woman. She goes, 757 00:34:52,960 --> 00:34:56,839 Speaker 4: aren't you supposed to be on Broadway right now? And 758 00:34:56,880 --> 00:35:00,680 Speaker 4: I thought this town, flip and town. 759 00:35:00,800 --> 00:35:03,160 Speaker 3: I have a story like that too. I mean, we 760 00:35:03,160 --> 00:35:05,439 Speaker 3: were it was a New Year's Eve and Ethan Hawk 761 00:35:05,480 --> 00:35:08,319 Speaker 3: had been able to we were doing Henry the Fourth 762 00:35:08,320 --> 00:35:09,960 Speaker 3: at Lincoln Center, and he'd been able to get the 763 00:35:10,080 --> 00:35:13,160 Speaker 3: entire cast invited to the plays and Players Club or 764 00:35:13,200 --> 00:35:15,759 Speaker 3: a what's the club over on lads players Club? Yes, 765 00:35:15,960 --> 00:35:17,600 Speaker 3: for New Year's Eve. So we're all there and we're 766 00:35:17,600 --> 00:35:19,840 Speaker 3: all celebrating, and it's wonderful, but we're, you know, in 767 00:35:19,920 --> 00:35:22,080 Speaker 3: and amongst you know, the actual members of this club. 768 00:35:22,800 --> 00:35:25,320 Speaker 3: And it's New Year's Eve and I'm doing a play. 769 00:35:25,480 --> 00:35:28,320 Speaker 3: And I was still young, and I thought, I'm gonna 770 00:35:28,360 --> 00:35:30,960 Speaker 3: have a cigarette, you know, why not, I'm gonna have 771 00:35:31,000 --> 00:35:34,640 Speaker 3: a cigarette. And I don't smoke as a rule, but 772 00:35:34,760 --> 00:35:36,640 Speaker 3: I just decided it's New Year's Eve, I'm gonna have 773 00:35:36,640 --> 00:35:38,759 Speaker 3: wine and cigarettes and it'll be fun. So I was 774 00:35:38,800 --> 00:35:41,719 Speaker 3: smoking out on the little terrorists they have out there. 775 00:35:41,719 --> 00:35:43,520 Speaker 3: I'm smoking my cigarette. I'm chatting with some of my 776 00:35:43,560 --> 00:35:46,239 Speaker 3: cast members and an older woman who's a member of 777 00:35:46,239 --> 00:35:48,640 Speaker 3: the plays Club. She comes up to me and she said, 778 00:35:49,320 --> 00:35:52,360 Speaker 3: I'd say you're Audra McDonald, but it couldn't possibly be 779 00:35:52,440 --> 00:35:57,080 Speaker 3: her because she wouldn't be smoking, never destroying her instrument. 780 00:35:57,760 --> 00:36:02,120 Speaker 3: She wouldn't be smoking. And then she just sort of march, Now. 781 00:36:01,960 --> 00:36:06,280 Speaker 4: Who are people who in your life? In your career? 782 00:36:06,320 --> 00:36:09,920 Speaker 1: One might assume you've sung the song, sang the songs 783 00:36:10,360 --> 00:36:12,360 Speaker 1: of pretty much everyone you want to sing. Where is 784 00:36:12,400 --> 00:36:14,480 Speaker 1: there one that's gotten by you? Is there some composer 785 00:36:14,520 --> 00:36:16,439 Speaker 1: whose music you want to sing that you haven't sang. 786 00:36:16,680 --> 00:36:18,759 Speaker 3: No, I wouldn't say that. I mean there's always young compo. 787 00:36:19,040 --> 00:36:21,239 Speaker 3: I am always championed the work of new, young musical 788 00:36:21,320 --> 00:36:23,759 Speaker 3: theater composers, so I'm always looking for new work to do. 789 00:36:24,200 --> 00:36:28,040 Speaker 3: There are certain songs that I stay away from because 790 00:36:28,080 --> 00:36:31,120 Speaker 3: I don't feel that I can do them properly. For example, 791 00:36:32,560 --> 00:36:34,400 Speaker 3: one that I have not been able to conquer that 792 00:36:34,440 --> 00:36:36,080 Speaker 3: I have tried a couple of times and never done 793 00:36:36,120 --> 00:36:38,160 Speaker 3: in public because I can't conquer it is Being Alive 794 00:36:38,400 --> 00:36:42,080 Speaker 3: by Sondheim. I cannot. As much as that song moves 795 00:36:42,120 --> 00:36:44,279 Speaker 3: me and as much as it means to me, every 796 00:36:44,280 --> 00:36:47,080 Speaker 3: time I try and sing it, I fail. So I 797 00:36:47,600 --> 00:36:50,160 Speaker 3: have not done it in public, and I won't until 798 00:36:50,160 --> 00:36:52,480 Speaker 3: I figure it out. And that is that strange? 799 00:36:52,520 --> 00:36:55,840 Speaker 1: It is No, No, I mean, I'm sure there's people. 800 00:36:56,000 --> 00:36:58,600 Speaker 1: It's like in plays. I mean, I'm trying to roles. 801 00:36:58,800 --> 00:36:59,959 Speaker 4: I'm trying to think of. Right. 802 00:37:00,920 --> 00:37:03,080 Speaker 3: Do you have writers whose work you steer clear of 803 00:37:03,120 --> 00:37:06,160 Speaker 3: as a performer because you don't you don't get it, 804 00:37:06,160 --> 00:37:07,680 Speaker 3: so you don't know how to bring it to life. 805 00:37:08,120 --> 00:37:09,680 Speaker 3: Not that you don't enjoy watching. 806 00:37:10,200 --> 00:37:12,719 Speaker 1: I might enjoy watching, you know, whatever. I want to 807 00:37:12,719 --> 00:37:15,239 Speaker 1: have in the theater. Life itself is so filled with 808 00:37:15,680 --> 00:37:19,320 Speaker 1: oddities now and surreal crap going on with the government 809 00:37:19,400 --> 00:37:21,680 Speaker 1: and everything. I want to see something which is really 810 00:37:22,120 --> 00:37:24,120 Speaker 1: I want some honesty. No, I need to have a 811 00:37:24,400 --> 00:37:26,120 Speaker 1: like oxygen. I need a big hit of honesty. 812 00:37:26,360 --> 00:37:28,120 Speaker 3: I you know, that's interesting. I was listening to a 813 00:37:28,120 --> 00:37:30,680 Speaker 3: performer on the way down here who i'd absolutely admire, 814 00:37:30,719 --> 00:37:32,600 Speaker 3: whose work I admire, and they were singing a song 815 00:37:32,640 --> 00:37:35,280 Speaker 3: that didn't, in my mind, seem quite right for them. 816 00:37:36,080 --> 00:37:38,120 Speaker 3: Not that they weren't singing it beautifully, but I thought, 817 00:37:38,600 --> 00:37:41,680 Speaker 3: I don't think they believe this. I don't. I think 818 00:37:41,719 --> 00:37:44,960 Speaker 3: they're trying something and they don't believe it, and there's 819 00:37:45,000 --> 00:37:47,040 Speaker 3: a part of me that thought, why am I thinking 820 00:37:47,040 --> 00:37:49,360 Speaker 3: that about them? I do that stuff all the time. 821 00:37:49,400 --> 00:37:51,400 Speaker 3: But I think you're right. There is something going on 822 00:37:51,520 --> 00:37:54,840 Speaker 3: right now in the zeitgeist that's sort of like everybody 823 00:37:54,880 --> 00:37:58,000 Speaker 3: is needing truth and needing needing something to ground them 824 00:37:58,000 --> 00:37:59,160 Speaker 3: and where is reality? 825 00:37:59,160 --> 00:37:59,960 Speaker 4: Any sat tire? 826 00:38:00,520 --> 00:38:03,000 Speaker 1: And my last question for you is, well, first of all, 827 00:38:03,320 --> 00:38:05,640 Speaker 1: describe for me, if you would, as I try to, 828 00:38:05,640 --> 00:38:08,400 Speaker 1: always think about people in your profession and who do 829 00:38:08,480 --> 00:38:11,799 Speaker 1: what you do as well as you do a moment 830 00:38:11,840 --> 00:38:13,440 Speaker 1: when you're on stage and you used to go out 831 00:38:13,440 --> 00:38:15,239 Speaker 1: there at night and you'd sing a song and you 832 00:38:15,320 --> 00:38:17,560 Speaker 1: knew you were going to kill these people, you know, 833 00:38:17,640 --> 00:38:20,520 Speaker 1: the minute that you sang that song, the way you 834 00:38:20,520 --> 00:38:22,840 Speaker 1: said that you could almost feel the people just getting 835 00:38:22,880 --> 00:38:24,000 Speaker 1: destroyed by that song. 836 00:38:24,760 --> 00:38:25,959 Speaker 4: Is that in a Lady Day as well? 837 00:38:26,080 --> 00:38:29,080 Speaker 3: Well? I think in the beginning with Lady Day, because 838 00:38:29,080 --> 00:38:32,040 Speaker 3: I think no one thought that I could find her voice, 839 00:38:32,480 --> 00:38:34,480 Speaker 3: you know, because I'm a soprano. So it's like, what 840 00:38:34,480 --> 00:38:37,440 Speaker 3: are you doing with's the soprano doing Lady Day? You know, 841 00:38:37,520 --> 00:38:39,680 Speaker 3: trying to be Billie Holiday. She doesn't have it in 842 00:38:39,719 --> 00:38:41,320 Speaker 3: her And I didn't think I had it in me. 843 00:38:41,440 --> 00:38:45,120 Speaker 3: And so some nights, you know, the show opens and 844 00:38:45,160 --> 00:38:46,960 Speaker 3: the first thing I do is sing before I even 845 00:38:46,960 --> 00:38:49,040 Speaker 3: start speaking, and so the audience and you can tell 846 00:38:49,040 --> 00:38:51,360 Speaker 3: that the audience is waiting to hear is she going 847 00:38:51,440 --> 00:38:54,880 Speaker 3: to get it? And on nights that I really felt 848 00:38:54,880 --> 00:38:58,640 Speaker 3: that I was really lined up, really lined up with Billy. 849 00:38:58,719 --> 00:39:01,880 Speaker 3: I had I had enough, you know, of her perfume on, 850 00:39:02,080 --> 00:39:03,880 Speaker 3: and I had the makeup right, and I had the 851 00:39:03,960 --> 00:39:06,759 Speaker 3: gin behind my ears so I could smell like what 852 00:39:06,840 --> 00:39:09,360 Speaker 3: she must have smelled like in those days. And I 853 00:39:09,360 --> 00:39:11,880 Speaker 3: would open my mouth and sing the first all I 854 00:39:12,040 --> 00:39:15,520 Speaker 3: know is I'm in love with you, and you'd hear 855 00:39:15,719 --> 00:39:18,480 Speaker 3: sometimes i'd hear the audience gasp, and that's when I'd 856 00:39:18,520 --> 00:39:22,160 Speaker 3: be like, Okay, I got that right now. Sustain it 857 00:39:22,160 --> 00:39:24,000 Speaker 3: for the next hour and forty five minutes, you know, 858 00:39:24,080 --> 00:39:27,719 Speaker 3: and I'd feel that. I'd think, Okay, they're they're taking 859 00:39:27,760 --> 00:39:29,279 Speaker 3: the journey with me. And there were nights where that 860 00:39:29,280 --> 00:39:31,960 Speaker 3: wouldn't happen. I'd think, Okay, I got a drag them 861 00:39:31,960 --> 00:39:33,840 Speaker 3: on this journey too, you know. But every once in 862 00:39:33,880 --> 00:39:36,480 Speaker 3: a while there'd be that moment of and every once 863 00:39:36,480 --> 00:39:37,880 Speaker 3: in a while to hear people go, oh my god, 864 00:39:38,800 --> 00:39:46,239 Speaker 3: ah and know is I'm in low. 865 00:39:49,400 --> 00:39:56,160 Speaker 7: Ye in there you said that we are through. I 866 00:39:56,400 --> 00:40:04,319 Speaker 7: know that that should know a yes, care go I 867 00:40:04,480 --> 00:40:09,359 Speaker 7: wonder where Allah has gone. 868 00:40:11,000 --> 00:40:14,360 Speaker 1: The final line of a review from The Evening Standard 869 00:40:14,920 --> 00:40:18,520 Speaker 1: for her recent West End debut as Billie Holiday doubles 870 00:40:18,840 --> 00:40:23,239 Speaker 1: as a review of Audra herself. Quote, yet still she 871 00:40:23,360 --> 00:40:29,520 Speaker 1: stands broken but indomitable to the last unquote. I'm Alec Baldwin. 872 00:40:29,800 --> 00:40:30,359 Speaker 1: Here's the thing. 873 00:40:30,480 --> 00:40:32,640 Speaker 4: Is brought to you by iHeart Radio.