BWW INTERVIEWS: Elizabeth Stanley Skates Into XANADU, launches at OCPAC, 12/15 - 12/27

ORANGE COUNTY, CA—What happens when you step into a role infamously played by Olivia Newton-John in a movie that, quite admittedly, is notoriously regarded as one of the worst pieces of kitsch ever made? Simple! You let everyone in on the joke! With that philosophy in hand, ELIZABETH STANLEY steps into those leg warmers and roller skates with confidence and a good sense of humor in XANADU, the Broadway musical that reverently skewers the cult classic of the same name. She plays Kira, the beautiful Greek muse who descends to Earth to help hottie mortal Sonny (Max Von Essen) realize his ultimate dream: to open a Roller Disco!

Stanley reprises the lead role she has played in the La Jolla, Chicago and Tokyo productions of the musical. Prior to XANADU, Stanley gained notices for starring in the Tony®-winning revival of Stephen Sondheim's Company and as Allison in the stage musical adaptation of John Waters' Cry-Baby.

Before the official launch of the national tour of XANADU arrives at the Orange County Performing Arts Center for a two week run from December 15 through 27, Stanley sits down with BroadwayWorld correspondent Michael Lawrence Quintos to talk about the danger of performing on skates, her Broadway debut in Company, and what it takes to step into a feel-good musical.  

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BWW: Hi, Elizabeth! Happy Holidays! We're very excited that Orange County will be the first official stop of the tour! How are things coming with the tour preparations?

ES: They've been going well! Actually, I'm on a break from rehearsal right now. It's been a couple of weeks; some people [who have been in the show before] are on break, but a few new people that have come into the show still have a bit more to learn though, so they're rehearsing a little longer. So, yeah, I'm trying to get my skates back in shape! [Laughs]

If you were to talk with someone who has never seen XANADU before, how would you describe this show?

Well... it is sort of a loving send-up of the film, which has been known to be notoriously bad. But this really pokes fun of it in very loving way rather than try to recreate the film. So, it's not just a vehicle to recreate the movie. It's really a new reinvention of it. And it's a really great 80's flashback... it's a feel-good, laugh-a-minute show with lots of, you know, disco balls...

So it's quite a departure from the Olivia Newton-John movie then?

Well, you know, the film didn't have much of a plot... but then there is a plot in this [musical]! And there are things like the cartoon montage in the film that we obviously can't do on-stage. So, things like that is a departure. But a lot of the things that are memorable, such as obviously the score are all directly from the movie. Certainly, if you go out and watch the movie, you'll catch on to so many things that are happening in the show.

Does it help, then, to watch the movie before seeing the musical?

No, I don't think so. I mean, when I saw it for the first time on Broadway, I had never seen the movie before, and I just loved it! I had such a great time! So I don't think it really matters whether you've seen it or not. I just think, like anything else... for example, if you watched something 20 years ago that you loved, and then you see it again now, it sort of brings out, like, a great nostalgic trigger for you. So someone who may not have seen [the movie] before can still enjoy it on that level.

So let's talk about your character, Kira.

Oh, Kira. Well, she's inspired, of course, by Olivia Newton-John. She is a Greek Muse who is called to Earth to help this sidewalk chalk artist. She's called down to help him pursue and achieve his greatest artistic destiny: to open up his concept of a really art-sy roller disco!

Wow, heavy stuff! [Laughs]. Well, since the character was inspired by Olivia Newton-John, did you get a lot of breathing room to make the character more your own rather than do a kind of homage to her performance in the film?

Oh, a lot! Because, again, it's not a direct recreation of the film, so I'm not trying to do an Olivia Newton-John impersonation by any stretch of the imagination. We bring it up in the show, actually: In the beginning when the muses arrive on Earth with this mission to help this artist [Sonny], Kira is the one who specifically works with him... and says she's going to go in disguise. She's going to disguise herself by wearing roller skates and leg warmers... and having an Australian accent! [Laughs] So that's how it's sort of addressed...what Olivia did in the film. So we totally poke fun of it, but in a loving way.

So how did you get involved with the production?

Well, I auditioned for XANADU last year, and then I got it! And then the first [sit-down] stop was at the La Jolla Playhouse, then Chicago. Then we took the show to Tokyo last year!

Wow, how was performing this show in Japan?

Well, you know, it was interesting! I've never performed anything else there, so I had nothing to compare to it. I don't know if the audience got it—the comedy—in the same way an American audience would because a lot of the humor isn't in their language.

So you didn't perform the show in Japanese, then?

Oh, no! Oh, thank God! [Laughs] I don't know if I would have been hired if I had to do that! But, you know, they loved it nevertheless. It's visually so fun. And musically, it's so fun. Some of the reasons why I think it appeals to people of all different age groups in the States...you know, really young kids like the show just as much as older people do because it's still a fun show, even if the language [in the show] may not be in their vernacular.

Will there be any specific changes from those previous productions that we'll see in this new tour?

No, not really, I mean, there are, of course, some new cast members. A few people have since left the show when they got hired for other jobs. But other than that, the show is pretty much the same.

What kind of preparations were involved for you before starting the show? Did you already know how to skate prior to XANADU?

No, I did not. [Laughs] This was all a big challenge for me in the rehearsal process last year... just getting comfortable on the skates. But everyone was very patient with me. And in the show, my character isn't necessarily required to be a physically great skater. Otherwise, I wouldn't have been cast! [Laughs]. Kira is someone who is disguising herself by getting on skates, so it kind of works for whatever skate level you're at. But I was certainly concerned about not killing myself, so it really was a challenge. So, yeah, I practiced a lot of skating... and also did a lot of listening to Electric Light Orchestra, Olivia Newton-John... you know, music of that era.

Any pros and cons with working on a show that requires you to, well, literally be on your toes singing, all the while trying not to crash into the scenery?

It is definitely something that's on my mind. I mean, the show is only 90 minutes, so it seems like [performing it] would be super easy, right? On some nights, maybe. But almost always, I feel like I can never... relax. Not that you'd want to relax when you're on-stage anyway. But, I have to really have a lot of rest to do the show, because I mentally can't be distracted... it's too dangerous. You have to have your mind focused, because you could get distracted at any given point and time. So that's a challenge. One of the things I love is that my character has magical powers... she's a muse, she can do things humans can't do. So it's really fun to skate the whole time because it feels like even my movement sort of feels non-human.

The last touring company that came to OCPAC just a few weeks ago was Spring Awakening. And like XANADU, they also had a few audience members sit right on the stage to watch the show. How do you feel about performing with actual audience members right there next to you?

It's fun! You know what, it's actually really nice to have [on-stage seating] in touring houses. Touring houses tend to be much larger than theaters in New York City. So, in New York this show played a very small, more intimate theater; even the house we played in Chicago was a very small theater. I think this show really works well in that way because it's nice to keep that [smaller, intimate] feel... to have at least some of the audience up there close to us.

Ever experience any strange or funny interactions with on-stage audience members?

Well, luckily, not too many! There was one instance I remember, I think it was during one of our first previews. A person who sat on-stage had, well, a few cocktails, I think, before the show. [Laughs]. Quite tragically drunk, actually. They were very enthusiastic about the show. There are a few who sing along and are a little too into it, but in a great way. It's fun for us, because it's great to see when people are excited about the show.

Do you have any pre-show rituals? How do you normally prepare to do a show each night?

Well, like myself, a lot of the people in the cast do some "skate warm-ups" about 5 or 10 minutes before the show. I do a lot of vocalizing myself while I get make-up and hair done. Oh, and I also meet up with Max [Von Essen] right before the show starts. I usually go over to his side of the stage and give him a high-five and say "Do what you can!" "Good luck out there!"

Speaking of Max Von Essen—who plays Sonny on the show—what's he like as a co-star?

Oh! He is wonderful! We've become such good friends and I'm also so pleased that we're both returning to the show after this break. He's just so awesome... so talented and super funny and a really kind person. He's quite hardworking and very dedicated to the show. I feel really, really lucky to be in the show with him; everyone in the cast, actually, is that way too so it's really nice.

Any funny behind-the-scenes stories you care to share about your awesome castmates?

Oh, gosh! There are so many things I can say to you right now! [Laughs]

Something that's not too incriminating, maybe, or you might get into trouble!

No, not all. Gosh, see, I'm trying to think... It's hard because in this [newer] company, we're also all trying to get to know each other a little bit. So I don't have a lot of great stories about all the new people. [Pauses] I'm trying to think... you know I can't really think of any one story right now. You know, let me just tell you... it's such a funny, silly show, and all your energy comes from the show you're doing. So it really sears into your life from the time you start doing it. Now if you're doing a serious show, it seems like you tend to have a more serious daily routine. But XANADU is really goofy... so in turn, backstage, there's a lot of... goofiness that goes on [Laughs]. So sometimes, Max would come up to me backstage while I'm doing a quick-change to say "Uh, so... I just wanted to go over some things with you that you need to change..." Right there, while I'm trying to do a quick-change! He likes to give me a hard time. And then, there are other people in the cast too who like to race each other to see who can change costumes the fastest! They would come out changed and pretend that they've finished [in enough time] that they were now smoking a cigarette or just relaxing. They're so silly, they love playing with each other like that. But, really, this show is so fast moving that there isn't really that much time to play or laugh. If you're not on the stage, you're usually off-stage changing and running back to go on-stage.

Wow. Sounds hectic and fun! Now, let's talk a little bit about your background. How did you get started in theater?

I started being interested in theater in elementary school then middle school. I lived in a really small town of 1,000 people in Southern Illinois, but there was another town of about 45,000 people a half-hour away with a strong arts community. So I did a lot of things there with community theater. My parents were very supportive of me taking piano lessons and voice lessons and driving me to practice. And so I started to sing then. I was really into classical music, so I went to Indiana University as a voice major to study opera. But while there, I got more interested in doing musical theater as I got more exposed to it. So I sort of shifted my focus when I was there.

Do you prefer musical theater over opera more now?

I can't really say because I have so much respect for both. They're so different, you know? I do feel that I'm more suited performing musical theater, so it certainly worked out for me that that's where my interests fell into, in that respect. But... I love, love listening to opera and watching opera.

Do you think maybe down the line, you'd want to take a crack at doing opera someday?

Yeah. Um... [Pauses] I don't think it's easy to just decide to go into it... to work in that arena, just strictly because of the logistics. The way opera is, it's booked years in advance... in theater, you could find out next week that you're doing [a show]. But I've done a lot of "pop" shows recently, so I hope to get the chance to play some classically-based musical theater roles. I think that would be really nice.

With that said, do you have any dream roles in other musicals you want to portray in the future?

Oh, gosh! I would love to do Evita! It's not an opera, but that's a good example of a classically-based musical. Yeah, that's a part that I've always thought was a great role. It would be a great challenge.... oh, wow, it's so hard to narrow them down! There are just so many good shows with so many great roles. But Evita really just comes so easily to my mind because I covered it when I was younger. It's one of those roles that I've studied but have never actually done.

What are some of your favorite roles that you've done regionally or on Broadway?

Well, my Broadway debut was in Company, and that will probably be a hard experience to top. It was truly special in every way... with great people and great feedback... and it got great press and everything. It was just awesome. So that's probably at the top of my list. And also, in the Spring I just played Costanze in Amadeus at the Repertory Theatre in St. Louis, and that was awesome to do a play and a role that grows so much... a role that has so much life within her. So, those are two of my recent favorites.

Now, you followed up your Broadway debut in Company with the lead female role in the new musical Cry-Baby. How was that experience?

It was awesome too. You know, it was so valuable to have the experience of working on a new piece, developing something that was new. There's just so much that goes into creating something... and dealing with all the changes, and watching everyone try and negotiate and make changes together. It was also a very special experience working with another ridiculously talented cast and creative team. I feel lucky to have had that experience. I started with the workshops and then saw it through to Broadway. You know, something that I didn't realize and probably most people don't realize is that a show takes several years for it to come together. Someone has the idea, then they kick it around, they do readings... it goes through so much metamorphosis. So with Cry-Baby it took several years before I even became attached to it. I know that there were several initial readings that I wasn't a part of that took place several years before I came on board the project. I became involved with the show during the workshop phase which was about one year before it went to Broadway.

With such diverse musicals under your belt, tell me, who were your musical influences growing up?

Well, personally, in my life, my music teachers were just great mentors, human beings and musicians. My piano teacher is someone I became very close with and is very special to me. My teachers are people I still keep in touch with and love to visit when I go home. Professionally speaking, I loved Ella Fitzgerald! Growing up, my parents also had a couple of Broadway cast albums that I listened to a lot which were Hair and Jesus Christ Superstar. And we didn't have cable, so I didn't have MTV or anything... so I wasn't as infused with a lot of pop culture as some other people... but I do love Mariah Carey!

What about currently? What music do you listen to nowadays?

I really love Whitney Houston, especially her older stuff. Even now, from time to time, right before doing a show, I would "warm up" to her oldies but goodies. She's got such a clear, pure sound. But I really love folk music. My favorite artist of all time has got to be Joni Mitchell. But, you know what... I enjoy a lot of different genres, so I'll listen to Bluegrass, Country, Jazz and Folk a lot. I kind of like a little bit of everything, but I tend to drift more towards female singer-songwriters.

And not only are you an awesome singer, you can play instruments! For your role in the revival of Company, you had to play instruments on-stage as well! Did you already know how to play those instruments already before being cast in the show?

I did! With the exception of the saxophone... I played the oboe, it was my very first band instrument. When I finally got to high school, I really wanted to be in the marching band, because I thought it was really cool! [Laughs] But the oboe was not a marching instrument, so I went up to my band director and asked, "what do you need?" Well, she said "the tuba" because, of course, no one wants to carry that around in a parade! So I taught myself to play the tuba when I was in high school. So when it came time to do it for Company, it had been a while since I played both those instruments so I had a lot of brushing up to do. So when we first did the show out-of-town, I didn't need to play those for that. But when it came to Broadway, one of the few things Stephen Sondheim wanted to change was that he really liked how in previous incarnations of Company, there were these songs that were always done with a girls trio with a sort of Andrews Sisters feel. When we first did the show out of town, it was much more literal: it would just be three women singing to Bobby. But for Broadway, he wanted to sort of recapture how that grouping... this time to have it be a like a "sexy sax trio." But, you know, I didn't play a ton... just a few notes for that song. But I did have to learn it enough to be able to play it in the show, believably. The thing about it is—and I say this a lot—that doing that show was very lucky for me.

So it certainly helped in your audition then, right, to know certain instruments going in?

Well, it certainly narrowed down the playing field! They're very specific skills. But what's great is that they orchestrated the show around the people that they cast. They knew going in that, you know, "we need someone who's a great piano player! We need brass! We need strings!" There were a few things that had to be present. And so I think I was actually the last person who was cast, because, well, my instruments were not ones they were dying to have! [Laughs]

Well, congratulations, then for landing that marvelous show! Now, speaking of auditioning... there a lot of young actors out there dreaming of a career in the theater much like yours. Do you have any advice for them?

Oh, gosh. That's a tough question! Well, I would tell them to just believe that you can. I think that's so important, because there are so many people out there who, you know, will not think that you can, or will not have the same dream that you do, so they may not understand what it's like to work for something like this. It's not like a [traditional] job where, well, you go to school, then afterwards you get a job in it, and then that's what you do for the rest of your life. So this profession is unconventional. So you have to be the person that believes you can do it, because there will be plenty of obstacles and people who will tell you that can't.

For you personally, after college, was that something you struggled with as well?

Well, yes and no. I mean, there are some people who probably think, "oh, gosh, you got to do this so young," and then there are some people who probably think, "wow, that took you forever!" So it depends on one's perspective. But, yeah, I had several years where I worked really low paying regional theater gigs around the country, and then I would come back and work as a cater-waiter or as a temp... and, you know, I was always poor. But I wasn't unhappy! I was doing what I wanted to be doing, and so it didn't seem to me like I was being punished. I mean, I can't say there weren't moments that hit me pretty hard, but... you know, I would not change my path. I would not have wished that I made that leap [into a big show] earlier. And I wasn't sitting around thinking, "oh, gosh, I hope it happens for me at some point... and that would be great." When I look back, there was just still a lot of running I needed to do right after graduation which I was able to learn from by working. Even now, in almost every show that I've been cast in, for my auditions, I still sing a song that I performed at a show I did regionally or that I learned as an understudy in something. It's interesting for me to look back and think, "wow, who knows... if I wouldn't have done that... maybe I wouldn't have gotten this."

So regional theater was a good training ground then for you before debuting on Broadway and now as the lead in XANADU?

I think it is. A lot. There is great regional theater across the country at every level. Some of it is, you know, kind of amateur and really low budget because that's what's affordable. And some of it is just like doing a Broadway show, except that it just happens to be at a different location. For me, it was great to experience all of that. I think it's important to be able to hone your skills and work on things, and know what it's like to work fast, know what it's like to work hard, and know what it's like to work with certain obstacles, be they budgetary or the people or whatever. It's good to start in a setting where you're not under a microscope and not under such huge public criticisms or expectations. When you do a Broadway show, you're out there. And for all the great exposure that gives you, it can also be very scary! And also, I was able to create lead roles in shows regionally, and, for me, that was really valuable because that's a challenge in itself, and it requires a certain amount of preparation and leadership. It was good to have that experience doing it a few times before doing a role in a Broadway arena.

I see. Now besides the upcoming XANADU tour, do you have any other special projects in the works? Maybe an album?

Of course, I would love to record an album! On my list of things that I want to do still... an album is, hopefully in the next few years, something I would love to work on. But really, I don't have any specific upcoming things... I have been lucky enough to be a part of a few readings and a few workshops of other shows in the last few years. So maybe, hopefully, finish up and move forward with some of those and stay attached to them. Nothing I can discuss right now, a lot of them sound like a sure bet; I won't say what they are or I'll jinx them!

Well, then, I won't press you for any details. As for XANADU, it's certainly quite a unique theater experience. What in particular do you hope the audience will take from seeing the show?

I think what I would want them to walk away with is just a feeling of happiness, and I know that sounds so basic to say, but... the show is 90 minutes of laughing and goofing around. At the crux of the show is... one of the final lines of the show is "to create art and love someone else... that is Xanadu." And if you want to take a deeper message from it, I think that's a beautiful message to carry with you through your life: to be able to create something that is true to you and to share that with someone you love... I think that's a really great thing to aspire to. Um... but, I don't think a lot of people walk away getting that deep about it, though. [Laughs] I hope they'll walk away thinking, "oh, that was fun, and during it I didn't have to think about the other worries in my life" for an hour and a half. I think that's a good thing to get especially in these crazy times.

Awesome! Well, thank you so much again for talking to me and we look forward to seeing you guys when it debuts here in Orange County!

Yeah, likewise! I'm very excited!

Photos from the National Tour of XANADU by Carol Rosegg.

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SPECIAL XANADU TOUR LAUNCH EVENTS

KIDS' NIGHT ON BROADWAY, Dec. 15, 16, 17
For families, the Orange County Performing Arts Center has three special performances worth considering. In collaboration with The Broadway League, the Center has scheduled special KIDS' NIGHT ON BROADWAY performances of XANADU on Tuesday, December 15; Wednesday, December 16; and Thursday, December 17 at 7:30 p.m. XANADU is the ideal introduction to the excitement and wonder of live Broadway entertainment, and with the Kids' Night on Broadway offer, parents who purchase one full-priced ticket for themselves can receive a second ticket free for a child between the ages of 8 and 18. Starting one hour prior to the performance, kids (and their parents who remain kids at heart) will also have opportunities to join in activities such as playing ‘80s video games in the lobby, entering contests where cast members will be the judges, dancing in the Third Tier Lobby disco and more.

FREE SKATING RINK AT THE CENTER COMMUNITY PLAZA, Dec. 19 - 20
The Center opens its community plaza as a free roller skating rink on Saturday, December 19 and Sunday, December 20 from 3:30 to 5:30 p.m. Experienced skating enthusiasts can bring their own skates, while rental skates will be available for $5. Roller skaters will be able to show off their moves on the plaza as they listen to hit songs from the XANADU soundtrack, including "Strange Magic," "All Over the World," "Suddenly," "Have You Never Been Mellow" and "Evil Woman," as well as other popular tunes from the ‘80s. The XANADU roller skating party is part of the Center's Free for All Series, which gives audiences opportunities to experience the Center and exciting entertainment in new and intriguing ways – and all for free.

CHALK ARTIST SHOWCASE
In the spirit of XANADU's hero Sonny, who is a chalk artist in the show, Melanie Stimmell Van Latum will create a 15x15-foot XANADU-inspired mural on the Center's plaza. Stimmell will begin working on Monday, December 14 and complete her work in time for the performance on December 16. The artist is an internationally recognized street painter with clients in Turkey, Holland, France, Canada and throughout the United States (Pending weather developments, Stimmell will work on the plaza itself or in a sheltered space visible to the public.)

SPECIAL CAST TALK-BACK, Dec. 22
Following the Tuesday, December 22, 7:30 p.m. performance, XANADU cast members will return to the stage for a special Talk Back with the audience. Patrons will have the opportunity to speak with cast members about their careers and their experiences as part of the National Touring company.

Tickets to XANADU start at $20 and are on sale now. They can be purchased on-line at OCPAC.org, by calling 714.556.2787 or at the Center's Box Office at 600 Town Center Drive, Costa Mesa. To take advantage of the Kids' Night on Broadway opportunity, use promo code KIDS. For inquiries about group ticket discounts for 15 or more, call Group Services at office at 714.755.0236. On-stage seats are also available. Call the box office for details. The TTY number is 714.556.2746. The 2 p.m. performance on Saturday, December 26 will be sign-language interpreted.

The Center applauds Wells Fargo for its support of the 2009-10 Broadway Series. Cox Communications is the Media Partner of the Broadway Series.

For more information on the XANADU presentation of Kids Night on Broadway, visit ocpac.org/kids. For more information on the show, visit xanaduontour.com.