Interview: Theatre Life with Anne Tolpegin

Today’s subject Anne Tolpegin is currently living her theatre life on tour playing the roles of Allie’s Mother and Nurse Lori in The Notebook. The show begins performances this evening at The National Theatre where it will play through August 30th.

Anne’s credits include work both on stage and screen. Past Broadway credits include A Tale of Two Cities, and Les Misérables. Other NY credits include Sweeney Todd (Standby for Carolee Carmello,) and Carrie (Standby for Marin Mazzie.)

She has also been seen touring the country in Kinky Boots, Billy Elliott, Mamma Mia! and Ragtime.

Regionally Anne has performed in productions at Pioneer Theatre, Drury Lane Theatre, Fulton Theatre, and more. The latter saw her starring in Next to Normal as Diana.

You might have also seen her in your living rooms on Mr. Robot or Iron Fist.

The Notebook is one of those shows that resonates with audiences but not necessarily with members of the press. Read on for Anne’s thoughts on this topic.

I highly urge you to make “Time, time, time” to see The Notebook while it’s here in DC. The score by Ingrid Michaelson is one of the best to hit the stage in the last few years and the book by Bekah Brunstetter will genuinely move you.

Anne Tolpegin is a veteran actress of immense talent who is truly living her theatre life to the fullest. Go see The Notebook at The National Theatre and you’ll see why.

Was there a particular show you saw as a child that you would say was the one where you caught the acting bug?

I saw Oklahoma when I was 11 and it captured my heart! I knew I wanted to sing and act onstage, and it’s what sent me first in the direction of theatre. I was lucky enough to see Les Misérables in London in 1986 and that sealed the deal for my career choice; that show was my touring debut in 1997 (with Colm Wilkinson, the OG Jean Valjean) and my Broadway Debut in 1999!

Where did you receive your training?

San Francisco University High School, Boston University Summer Theatre Program and Northwestern University Theatre program.

What was your first professional job as a performer?

It was doing summer stock at Wagon Wheel Playhouse in Warsaw, Indiana. It’s where a ton of Northwestern, Michigan and CCM students went back in the 90s. Eight shows in one summer teaches you a lot about the gig!

Can you please tell us a little something about the two characters you play in The Notebook?

I play Allie’s Mother and Nurse Lori, and the reason behind having the same actress play two principle roles is this: Older Allie confuses her nurse with her mother! It’s a big challenge to switch between these two throughout the show, but it’s wonderfully fun to be the obstacle in our story. Allie’s Mother truly wants the best for her daughter; she is not a caricature two-dimensional bad guy; she is flawed, and unable to open her mind or truly trust her daughter’s choices, until the end of the show. Nurse Lori is overwhelmed, exhausted and undervalued (as many of today’s caregivers are) - and in her attempt to keep the nursing facility running and all her patients safe, she is also an obstacle to Allie’s freedoms and choices.

The Notebook features a score by acclaimed singer/songwriter Ingrid Michaelson. For you as a performer, what is your favorite thing about performing her fantastic score eight times a week?

You were part of the company for A Tale of Two Cities on Broadway. Can you please talk about your experience of putting that show together and why do you feel it didn’t have a longer run in NY?

A Tale of Two Cities was such an exquisite show; it had an elegant score, a ridiculous set and a beautiful poignant book. This is hands down the most incredible group of singers I’ve ever worked with, including the incredible Aaron Lazar. It was a joy - and a challenge - to build our show; and we had excellent guidance from Director Warren Carlyle, Kevin Stites our Musical Director, and our entire team. Any original show is an incredible uphill battle, but I will say we had a stunning show and am very proud of our company. Who knows really why certain shows don’t hang on on Broadway? We had Charles Dickens’ grand niece’s blessing and all!

The Notebook on Broadway received, in my opinion, some very questionable negative reviews while audiences very much enjoyed it. Why do you think audiences connect with the show even if some of the press core doesn’t?

I think the majority of theatre critics are watching shows with a fine tooth comb, whereas audiences are at the theatre to relax, enjoy and experience. It is the critics’ job to do this sort of “picking apart” of a show, whereas audiences are afforded the opportunity to have a show wash over them without feeling a need to “grade” their journey. The Notebook, like all shows, has had the experience of evolving and understanding what audiences connect with and what they don’t - from the original out of town run in Chicago to Broadway to our 1st National Tour - and at present, if our backstage door lines and ticket sales are telling us anything, they are loving it!

What is the best thing about performing in The Notebook across the country?