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GREAT PERFORMANCES: You live in New York City, is that right?
Kristin Chenoweth: Yes, I actually divide my time between New York and L.A. I actually got here the day before the tragedy and have since decided to stay put. I actually have to get back to L.A.; I've got some concerts to do out that way next week, so I've just decided to hang out a little bit before I have to go back.
GP: Do you consider yourself a New Yorker?
KC: Oh, absolutely.
GP: How long have you been there?
KC: Oh, let's see. Six years.
GP: Do you live uptown or downtown?
KC: I live on the Upper West Side.
GP: Does the city feel strange to you now, subdued in a way?
KC: Well, yes, but I tell you what though; I've got to tell you -- it's funny -- Josh [Joshua Bell] and I were performing at the Hole in the Wall Gang Camp, which is Paul Newman's camp for ill children. We had done that the weekend before [September 11th] and then Monday, I came back into town to do some business, and Tuesday morning I woke up to all the sirens and I thought, "Of course, I'm back in New York, you know, can't get any sleep." Then I leaned over to pick up my phone to order some breakfast; the phone was dead. I'm like, "Of course." You know, I'm complaining and then I turn on the TV to see one of the World Trade Center [towers] fall, and I thought it was a movie or something. And we've just been in shock [ever since]. And although you're right, the feeling here is very subdued, people are getting out now and we need to because we've got to keep the economy going. It's been odd to be here during this time, to feel it.
GP: So obviously this has impacted your life?
KC: You know what it's done, I've been very, very blessed in my career, and the more successful you become, the more that's expected of you and the more you want for yourself. The past two weeks has put everything into perspective. I recently had a TV show [KRISTIN] that was canceled and a lot of people ask me, "Are you okay?" "Are you okay about that?" And I'm like, "Am I okay? Am I okay? That my TV show was canceled?" Yes, I am so okay. It's just put everything into perspective.
I'm very close to my family anyway, and I'm so glad that that is there, because really when it's all said and done, your friends and your family are what matter. So as much as I love what I do, and believe me I do, this has just made it all okay. There are people still down there working.
Yes, this has impacted me. It has made me want to be a better person, a better artist. That's what it has done, if anything.
GP: Your family lives in Oklahoma?
KC: Most of them live in Oklahoma, but now my parents live in Houston, Texas. My dad works downtown in Houston and they immediately got him out of his building.
But Oklahoma certainly knows what this is like. And before the Hole in the Wall Gang Camp, I had just been to Oklahoma City to do the opening ceremonies for our new Civic Center Music Hall. So Oklahoma was on such a high, having rebuilt downtown. Actually, the mayor of Oklahoma City called me last week; he wanted to know how I was. And I said, "How are you?" And he said, "You know, we just can't get away from it."
GP: What an awful reminder for Oklahomans.
KC: Yes. Yes.
GP: Now, to relate it to the Bernstein piece.
KC: And it's all related, I think you're right. It is.
GP: And given that Bernstein is so strongly identified with New York, can you talk a bit about your feelings for him and his music?
KC: It's ironic that I have been twice now chosen to be involved with something of his. The first time was the "West Side Story Suite" of dances at the New York City Ballet. I danced and sang in one of their productions of it. Also, I did my thesis, for my graduate work, on Bernstein. He is my favorite American composer. I believe he was ahead of his time, but more so, what he gave to us [is extraordinary]. When you think about "West Side Story" alone, and isn't it ironic that, of course, it takes place between two gangs in New York City, but still, decades later, there is still violence and we're still seeing that? He touched on something so profound, and so early. It applies today, that's what I love about Bernstein. It's still in. It still works. Besides the fact that it is musically challenging and beautiful.
In college I played the lead role in "Candide," which is probably my favorite thing I've done to date, so the fact that I was asked to join Joshua Bell to do this meant a lot to me. I was able to meet Bernstein's daughter and his grandchildren at the concert. His daughter was so lovely to me, and I told her that my biggest regret was not ever getting to work with the man. Also, [I was] talking with some of the orchestra players after the concert, and they said, "He would have loved your 'Glitter and Be Gay.'" That to me was very touching.
Also, I must say, to watch Joshua, because I was just the special guest, the concert was really about him for me. It was wonderful to watch him perform Bernstein's music. I think he was very smart to choose this for his next album and to do this concert because he's quite a performer, and I had actually never seen or heard him live [before]. So to watch him, I think people were surprised to find out just exactly what an amazing performer Joshua Bell is. And to have it be Bernstein, which is just so American.
I think New Yorkers in particular are going to be especially moved by this concert. I think the song ["Somewhere"] that says, "There's a place for us," couldn't be more appropriate for today. And to be honest, if you listen to "Lonely Town," which is the duet that Josh and I did together -- I don't know that I will be able to watch that without really crying, because I think it just so applies. And to anyone who has lost someone, a friend or a family member, it could not be more appropriate. In a way, over the past two weeks, New York has felt a little bit like a lonely town, but at the same time, there's a place for us, and that's kind of why I think this concert is more appropriate than ever. And although I felt that it was a big hit in the park, I think it could be an even bigger hit on television, because of what it means. And Bernstein didn't even know the kind of foreshadowing these songs would have for us today.
It was very special for me to be involved, now more than ever, it really, really was, and I feel honored to be a part of it.
GP: When was the first time you heard Bernstein?
KC: I was a big fan of Broadway musicals as a child and I knew the score to "West Side Story." I was probably the only kid on my block listening to Broadway musicals all the time. I was probably in the fifth or sixth grade. I know that he used to do the special program for kids [the Young's People's Concerts] when he was alive, and I think I would have just loved that. I was one of those kids that would have really reaped the benefits of learning about music in that way. Being from Oklahoma, I did what I could, and I listened to "West Side Story" and "On the Town." I listened to so many of his shows. It wasn't until college that I became familiar with more of his orchestral work. I did a show, a musical of his called "Trouble in Tahiti," which isn't done very often because it is ahead of its time. It's about a couple in the '50s on the brink of divorce, and when it was written, nobody wanted to talk about that or deal with that. It wasn't until college when I did my in-depth study of him, but certainly at a young age, I became familiar with his music and always loved it.
GP: Did you choose to sing "Glitter and Be Gay" and "Lonely Town"?
KC: Well, "Lonely Town" was actually what they asked me to do. Josh and I rehearsed for that maybe a month or two before, and of course the week of the concert. They had mentioned, would I like to do "Glitter and Be Gay" because many people know that I do that song, that aria. And I thought, "Well, of course," but I wanted to make sure that it fit in the program, since this is obviously really about Joshua and the things he has done on his album. I just didn't know if it would fit and then they came back to me and said, "Yeah, we really do want you to do that, it will fit lovely in the concert." So I was thrilled that I got to perform one of the pieces from my favorite role that I've ever done. It was just such a fun, fun piece to do with that huge orchestra on the stage. And the conductor was wonderful, and I could tell he was having fun. I thought it did fit nicely because the evening was somber and lovely and beautiful, but you want a little something light in there. I felt a little silly bringing the props out there, but you know, you got to have them.
GP: What was it like to perform for 50,000 people?
KC: Well, I thought, "Are they even going to see? I'm already a tiny person, so I'm going to be a dot on the stage." But I really believe that if you are an actor or performer who is in the moment, you will read all the way to the back. And that was my biggest fear, I thought, "Are they going to see? Are they going to get it?" But I tell you what: it was as if they were all in my living room. I think Josh probably felt the same way when we performed "Lonely Town." They were so into it. And, of course, the audience feeds you and then you give even more. So I was really nervous, but once I got out there and began to sing, it kind of faded away.
On a personal note, I had been away from New York for a while, in California, and in a way, for me, it felt like I was coming home. It was actually a very emotional night because I hadn't gotten to perform in New York for nine months, or even a year. So to feel the audience's reaction, and to feel that they were with me, it felt in a way like I was coming home. It was lovely.
GP: How was working with Josh?
KC: I can't go on enough about him. I remember showing up at his apartment for rehearsal for the first time. I had met him one time previously for about a second, so when I showed up I didn't really know him. I was a little bit in awe, so I was nervous. I remember thinking, "Try to be perfect, because he's probably perfect." But he put me at such ease, and it was lovely to work with him because he wanted to know my opinions. He wanted the phrasing and the musicality of the piece to be right for me. He was so giving and sweet, it just put me right at ease. I felt right at home. He made me feel as if I belonged. So many times you work with people and it's lovely, but Josh just made me feel very comfortable and that, I think, helped me relax and be able to do my thing. I would love to work with him again. Obviously, he's one of the world's top violinists, so there's that. But what I've loved is just to get to know him as a person and to watch him perform. Like I said, watching him onstage that night, I was very moved. I know what a musician he is, but to watch him, I loved it. I can't go on enough. I've enjoyed meeting him, working with him, getting to know him. I was the lucky one in the deal. He said to me later, "Thank you so much," and I thought, "Who's thanking who here?" I really am the lucky one. I hope we get to do something again sometime.
GP: I imagine you both learned a lot from each other.
KC: We did. I hope he learned from me; I know I learned from him. He blew me away.
GP: What are your upcoming projects?
KC: I guess the next big one is, I'm going to be shooting "The Music Man" opposite Matthew Broderick for the ABC Disney movie of the week. I'm very excited about it. Matthew and I have worked together before in different situations, and we work well opposite each other. So I'm excited to work with him.
There is also a new musical called "Wicked" that Stephen Schwartz has composed and Universal Studios is producing. I will be playing one of the leads in that for Broadway, probably in about a year. But we have things lined up; I've got a lot of concert work. And there is a possibility of another TV show, I'm waiting to start work on that; it's called SEVEN ROSES and it's for CBS. So I've got a lot coming up.
GP: Are you looking forward to getting back on Broadway?
KC: Oh, I need it. I need a shot in the arm so bad.
Interview by writer Samantha Gleisten for GREAT PERFORMANCES Online.
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