From 'Company' to 'Night Music':Leading Lady Barbara Walsh

Interviewing Barbara Walsh was a special treat for me, as I have long been a fan of hers, going back to Blood Brothers in the mid-nineties.  Many others remember her Tony and Drama Desk nominated turn as Trina in Falsettos, a show she herself has a special fondness for.  Most recently, this multi-talented actress turned quite a few heads with her now legendary (and PBS preserved) take on Joanne in the John Doyle revival of Company.  Ms. Walsh is the kind of interview reporters love.  Her confidence is magnetic, and her warmth and obvious love for her art and her profession immediately put one at ease.  And what a story teller!  I had the opportunity to sit down with her in the midst of rehearsals for the CENTERSTAGE production of A Little Night Music, which begins previews March 13, opens March 19, and runs through April 13. 

 

At the time of the interview, Ms. Walsh was looking forward to getting on the stage in technical rehearsals.

Barbara Walsh: I love rehearsal, but I really enjoy tech rehearsals.  A lot of people hate them; it's a lot of standing around, you know, doing cue to cue and that sort of thing.  But I find the process enlightening, and it helps me to get my character more defined.

James Howard:  This is your CENTERSTAGE debut, but you are from the area?

Barbara:  Yes, I grew up in Chevy Chase, went to school at Montgomery College in Rockville.  I even worked for several years at the Harlequin Dinner Theatre in Gaithersburg.  Most of my siblings still live in this area, too.  But, yes, this is my first time doing theatre in Baltimore, which is funny in a way, with so much theatre in DC and then in New York.  I somehow missed Baltimore, but I'm here now!

James:  So you started in local dinner theatre?  How did you eventually get your Equity Card?

Barbara:  I also did dinner theatre at the Wagon Wheel Playhouse in Indiana, with Faith Prince!  It was one of those places where you rehearsed a show in the daytime, did another show at night, and did things like paint and move scenery.  [Lauging] I remember Faith and I bonded over cleaning men's room urinals… then I got my card at the Marriott Lincolnshire in a production of Camelot.  Not too long after that, I went into the Broadway company of Nine (the original production).  I got to work with Tommy Tune, who is just great.  I did the show in New York for its last five months, and then did five months on tour.

James:  You've had the chance to work with some of the greatest artists in your career…William Finn, Tommy Tune, Stephen Sondheim…

Barbara:  Yes!  I have been so fortunate.  I also have gotten to work with some great actors.  Stephen Bogardus, who is in Night Music with me here, and I have a history which makes for a nice relationship onstage in this, I think.  We did the tour of Chess, Some Men in Philadelphia – before they cut all of the women out – and of course, Falsettos.

James:  Yes, Falsettos.  How did you come into that?                                                         

Barbara:  Well, I originally was in both parts – March of the Falsettos and Falsettoland – when Graciela Daniele directed it. It was supposed to go to Broadway, but somehow that didn't work out.  Next thing you know, I'm on Broadway doing the Lapine version.  That was so amazing.  Later, the show toured, and they got the whole original cast back together to do the L.A. run.  It was great to be back with the guys.

James:  You've been in some pretty high profile shows in New York and around the country.  What can you tell us about them?  Blood Brothers?

Barbara:    Blood Brothers was tough for me personally.  Dad died when I was away rehearsing, and I had a really hard time dealing with it.  I guess that affects my memories of that show…

James:  What was it like working with Kerry Butler?

Barbara:   [Immediately smiling] Oh, Kerry is great!  She's a fantastic girl.  I can't wait to see her in Xanadu – I hear she's just fabulous!

James:  Yes, she is!  Didn't you also work with her in Hairspray?

Barbara:    You know, I did, but it was for a very short time.  I replaced Linda Hart shortly after they won all of those Tonys, and Kerry left not too long after that, as I recall. Man, that was a big show!

James:  Ragtime?

Barbara:   I LOVED that role!  It really was the most stunning experience.  I got to make her [Mother] a human, not a martyr.  (Joel Hatch was in that with me – he's in that amazing new show Adding Machine in New York.  Great show!) My husband and I packed up and moved to Chicago.  It was supposed to be a one year job, but then there was that whole mess with Garth (Drabinsky) and the LivEnt thing.  Next thing you know, we have no place to live.  So we moved in with Heather MacRae… three adults and some animals in a tiny apartment!  But I loved Ragtime… what an experience!

James:  Big: The Musical?

Barbara:  Hmmm… I loved the people!  Everyone believed so much in what we were doing.  But you know, it is hard to write an original show, even if it is based on a movie.  I don't care what anyone says.  But I loved the people.  And it was such a crazy time for me – rehearsing and opening while I planned my wedding and searched for an apartment.  But really, it is just so heartbreaking when a show closes, especially after all that work.  And the reviews weren't bad, it just didn't click.  BUT I did get to sing that beautiful song! ("Stop, Time")

James:  Of all of your shows, what do you think has been the pinnacle of your career so far?

Barbara:  I'd have to say Falsettos, both personally and professionally.  That was the show that really introduced me to the Broadway community.  I knew a lot of people from touring and doing regional things, but there is nothing like community of artists on Broadway.  I don't know… the show, the timing, the loss of all of those people (to AIDS)… it made the whole thing so profound.  Plus, to be able to say I did both versions – Daniele AND Lapine!

Then fifteen years later – fifteen! – Company! (She smiles broadly.) Wow!  To work with John Doyle and Stephen Sondheim…how do you beat that?  Doing Sondheim is extraordinary.  I thrive in artistic shows.

James:  Was it difficult when it became apparent Company wasn't a commercial success?  What about the Tony?

Barbara:  First of all, I'm not that well versed in the business end of things.  We knew we weren't selling tickets… I later found out we really ran much longer than we probably should have.. but we knew.  It was heartbreaking to look out and see all of those empty seats, especially upstairs.  For weeks they were empty!  And it was really noticeable as we were so close to the audience physically.  BUT, and this really means so much more than making money, what was really great was looking out at the front rows and seeing all of those really young people loving it, and then looking just behind them and seeing older people loving it, too.  They really GOT it, you know?  That was terrific.  They appreciated it, but it was sad…

Still, I think more work like Sondheim and some others that really push the artistic limits should be produced more for the masses.  I wish it could be more about the work and less about the money.  Most shows these days are all about the money.  What can we sell with the show?  You see some shows and the curtain goes up and it's like they are throwing all of the money they spent right at you!  I know that's the nature of the business.  I mean realistically, Hairspray got me a new kitchen along with stable employment.  At least that show says something.  My husband has been working with his company Transport Group for the past six years.  He takes risks – he does the work artistically.  He casts the best people; he doesn't bring in a celebrity. And every year their audiences get bigger and bigger.  So it can be done.

As far as the Tony goes, I'm very grateful that our show was recognized for the achievement it was.  I'll admit I was disappointed that I didn't get nominated.  But a great friend of mine put it into perspective for me.  Playing that role in that production raised my stock in the business.  It is true.  People know about the role and the production, and that is, professionally, what really matters.  And so I'm ready to get IN there!  I'm a Leading Lady! (She smiles.)

James:  One of our readers wanted to know what it was like meeting Elaine Stritch after taking her iconic role and making it your own.

Barbara:  Well the first time I met Elaine Stritch was at an interview at the Carlyle with Lillian Ross.  They wanted to talk to us about this very topic.  Anyway, I had never seen Elaine's performance as Joanne other than that legendary documentary about making the cast [recording].  And she pretty much dominated the interview, which was fine.  She is so funny and I laughed the whole time.  We talked about Sondheim and getting it right.  The next day, Lillian called and asked me some questions to balance things out some, but the article never ran.  Cut to previews for Company.  I knew she (Elaine) was coming some time, but she told me she wasn't going to say when.  Well, after a preview, I'm in the hallway, taking off my wig, and I hear her voice.  You can't miss it! (Walsh immediately goes into a dead on imitation of Stritch)  "That was WONDERFUL!  Just wonderful!" she said, grabbing me by the shoulders and looking at me with tears in her eyes.  That meant a lot to me.

James:  I bet it did!  Another question from a reader: How did you manage to get the audience NOT to applaud after "The Ladies Who Lunch"?

Barbara:   Well, John Doyle was really going for fluidity, and in fact, other songs happened with no applause built in.  It was my decision.  I felt that there should be silence after this song, which is such a vulnerable moment for Joanne.  So we took out the accompaniment for the last few "Rise!" s.  Somehow, people just knew not to applaud in Cincinnati.  In New York, they wanted to applaud, and they did after I said (going immediately into character), "Larry, I want a cigarette."  I was determined to stop the applause.  John and I joked about it – "If they applaud, I'm going to sack you!" he said.  Then one night it came to me – how to stop the applause.  We talked it over and I tried it and it worked!  I broke up that line.  "Larry…I want…a cigarette."  At that point the audience had no idea what she was going to say she wanted, and by the time I got the line out, the impulse to applaud was gone.  I mean, she went to a REALLY dark place and couldn't get back.  I think it is so interesting that the first person she turns to after that is her husband.  But her wanting a cigarette allowed her to get right back into that cover.  Honestly, some people hated it, but I loved it.  I wanted that tension.  It was the right decision.

James:  And now here you are doing Sondheim, back to back, and again singing a legendary song.

Barbara:  Yes!  I feel so fortunate!  Two very different ladies.  Joanne and Desiree are from polar opposites, which is so much fun.  That was one thing I loved when I did dinner theatre, such variety of roles.  But I don't feel that this role has the cement I had to break through that I did with Company, even though ours was so different than the original.  Here, the song, ("Send in the Clowns") is famous apart from the show and the ladies who have performed it.  I mean, Judy Collins made it a hit as a folk tune.  Judi Dench played this role, and of course, Glynis Johns originated it.  But so many have played her, it is less of a burden.  Wow!  I can't wait to really get into rehearsals and then start performing this!

James:  How did you come to CENTERSTAGE?  How has the experience been so far?

Barbara:  Well, CENTERSTAGE has an excellent reputation.  My husband knew of its reputation and encouraged me to audition and take the role.  There has been no struggle at all.  It is such a relief!  Here you are taken care of with housing.  My apartment is spacious, and I have everything I need, including a good mattress.  (She smiles.)  I think you can do much better work when you are taken care of.  And everyone here has such an amazing attitude – anything you need they deal with it.  But most importantly, people here are so passionate about theatre.  They are not at all phony – they have a genuine interest in the same thing – good theatre.

James:  So after this, more Sondheim?  Dream Sondheim role?

Barbara:  I don't know.  One must allow for surprises.  But I guess I'd love to be in Follies – any of the roles, but I'd love to sing "Losing My Mind."

James:  Before you get back to rehearsal, do you have any advice for people who want to do what you are doing?

Barbara:  Hmmm… well, first of all, life experience getting older is an advantage.  I find I have less fear and am much more honest.  From that I've learned that you have to know what YOU can do, and embrace that, not try to be something you aren't.  And whatever gives you the deepest connection to a role, give in to it, use it.  You have to be fearless.  But how you express that is totally up to you.  Oh!  And auditions!  I used to hate them!  I was scared of them.  Now I LOVE them!  Because I have realized that it is the one time as an actor you are totally in control.  You have all the power.  The better your choices (finding the right material, finding out what they are looking for) the stronger you are going to be.  And stay on your own road – no jealousy or fear.  It is a waste of time.  And I know this is a cliché, but if you really have to do it, then do it.  It is not easy.  But when it is good, it is extraordinary.  Oh!  And one last thing – don't study actors, study human beings.

James:  Thank you so much, Barbara!  I'm looking forward to seeing you in A Little Night Music!

 

For information about A Little Night Music, go to www.centerstage.org.

 

PHOTO of Barbara Walsh courtesy of CENTERSTAGE.

 

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