We are celebrating the 80th birthday of Stephen Sondheim by speaking with several of the women most associated with the work of the award-winning composer-lyricist. This week we chat with two-time Tony winner Donna Murphy, who won her first Tony Award for her work as Fosca in Sondheim and James Lapine's Tony-winning Passion. The acclaimed singing actress would later earn raves for her work as Phyllis in the City Center Encores! production of Sondheim and James Goldman's Follies. Murphy will return to that famed New York venue this month to play Mayor Cora Hoover Hooper in Sondheim and Arthur Laurents' Anyone Can Whistle.
"I got a musical my sophomore year [of college]," Donna Murphy recently recollected. "I went to an open call, and it was for They're Playing Our Song. I was hired as an understudy and while I was doing that show, I saw [Andrew Lloyd Webber and Tim Rice's] Evita, and I saw [Stephen Sondheim and Hugh Wheeler's] Sweeney Todd. I saw other shows, too, but [after] those two shows I practically had whiplash because I was so blown away by the power of them. And I remember thinking, with all due respect to how lucky I [was] that my first professional job [was] a Broadway job, 'This is what I aspire to — a work of this kind of power and depth.'"
Flash forward to March 2010, and Murphy, the winner of two Tony Awards for Best Actress in a Musical, is among the select group of women (Bernadette Peters, Patti LuPone, Audra McDonald, Marin Mazzie and Elaine Stritch) — all wearing specially designed red dresses — chosen to honor birthday boy Stephen Sondheim in an evening with the New York Philharmonic. "Ultimately, I think the whole idea of it was so vibrant and rich," says Murphy. "And, most importantly, the idea of getting to sit on stage with women who are both icons to me and colleagues. I mean, Audra and Marin, in probably an even more active way in my own career, because I've worked with them. And, in the case of Patti and Bernadette and Elaine, early in the career, I kind of idolized [them]. Elaine was a slightly different world, but Patti and Bernadette, it was like, 'Well, when I grow up, boy, that's…' And not that they were that much older than me, but … when I came to school, to NYU and saw Patti in Evita, I thought, 'Dear God! That's a force.'"
Murphy would prove to be another force, eventually winning her first Tony Award for her layered performance as Fosca in Stephen Sondheim and James Lapine's Passion. But the road to Sondheim, Murphy explains, was not an easy one; in fact, if anyone exemplifies the benefit of listening to the old adage, "If at first you don't succeed…," it just might be Murphy.
"I first met [Sondheim] from afar when I auditioned for Into the Woods," Murphy says. "I auditioned for the Witch, before they asked Bernadette, after they had done workshops and they were auditioning people for the Witch. And, I had several callbacks, and I was asked to work with James [Lapine] and I was asked to work with Paul Gemignani. And so, he was in the house and I met him, but I didn't get to work with Steve. And, obviously, I didn't get that job," Murphy laughs. "It wasn't my time. And then I auditioned for him again when I was called back to replace Joanna Gleason as the Baker's Wife in Into the Woods, and had what I thought was a really great audition. I thought, 'Oh, this could maybe…,' and Chip Zien actually read with me, and he was really supportive and very encouraging, and that one wasn't mine, either. I've subsequently been asked to play the role a number of times and haven't been able to do it. I hope I'll get to do it before I'm too old! And I think I had a little interaction, like, across the footlights with him.
"Then, I auditioned for a production of Merrily … in DC . . . . I was auditioning for that production, and they were going back and forth about [casting] me for Mary and me for Gussie, and I said, 'I will happily [audition for both], but you have to give me appointment times with at least three hours in between.'"
Murphy didn't end up with either role, but she did get some encouragement when she spoke with the casting director, Natalie Hart, shortly after the audition process. "'You know, Stephen Sondheim talked a lot about you after that audition.' I said, 'Really? What did he say?' And he said something like, 'I hope she sticks around in the theatre because she's the kind of gal who they're gonna scoop up, and she's gonna get a television pilot or something.' And, well, that didn't happen," Murphy laughs, "or I did, and it didn't work out – pilots didn't get picked up or whatever, and I hung around the theatre."
|photo by Joan Marcus|
"My dream was to work with Steve and James," Murphy says. "It was a real turning point when I saw Sunday in the Park — [it] was a moment when I was questioning whether I wanted to continue. I've had several of those moments," she says with a laugh, "sometimes weekly, but that was, I think, the first big [one]. I wasn't getting cast as frequently, I wasn't working as much as I would have liked to have been working. I was broke. My husband came home — I don't know what strings he pulled to pull together the money to buy tickets for my birthday to see what was supposed to be Mandy [Patinkin]'s last performance of Sunday in the Park. And, I just remember standing up at the end of that show, and I was bathed in tears. I mean, I'd been crying throughout but [I was] standing up and literally looking up to Heaven and saying, 'Thank you, God, for letting me be here, for this show existing and for letting me be open to hearing what it says. Because I don't know how, but I know why and I know what — what I have to do and why I have to do it, because I just have to.' And that show has remained my touchstone. When I would waver about continuing in this crazy business, I would put that album on. I can put on almost any cut, but certainly 'Move On' and 'Finishing the Hat' and 'Sunday.'"
Given her dream to work with Sondheim and Lapine, Murphy — who was at the time busy with the workshop of Hello Again — made a surprisingly brave decision when she told her agents that two days was not enough time to prepare for the Passion audition.
"I got the call to audition, and the audition was for two days later, and I was in rehearsals learning new music on a new show. And I had rehearsals, and I took a look at what they'd given me, and it was 'I Read.' . . . I got the call and I said, 'I can't do it. I can't do it in two days.' I can't because I want to go in there and not give them the finished product, but I want to give them a taste of what I think I could really bring to the table. That's not me just singing the music nicely. This is a character in an extreme condition, in extreme circumstances. And I've always said, there will always be somebody who can sing it better than me. I mean, I've got a rangy voice and, I think, an expressive voice and I work hard . . . but I do kind of lead with the acting. . . . But as I said, I always know that someone is going to sing it better. There's going to be a better voice, there's going to be a prettier girl or there'll be an uglier girl, in this case! So what I have to bring is the combo. And I do feel my strength is in my acting. Not that I always feel completely confident about that, I have my vulnerabilities and my doubts there, too, because I'm human and I'm hard on myself, but it's where I feel most grounded."
Although the producers could not guarantee Murphy more time, fate was on her side. "I got three subsequent days off from work," she says. "It just happened to work out that way, and so I went into my little Fosca cave. And my husband would be like, 'Jesus, you don't even have the job. Do I have to have breakfast with Fosca?' [Laughs.] Because I wasn't bathing, and I didn't wash my hair for three days and I was just going into this kind of zone and immersing myself in the music and also trying to, through my imagination, imagine this woman's circumstances. . . . I had such strong instincts about it, and later on, Steve said that I could have played it the next night or something like that. I was in touch with the character. . . . I hadn't been some sickly, obsessed woman chasing a man who didn't love her. It was kind of subtler than that, but I was able to use those seeds, and I just felt for her. I felt great sympathy and empathy for her, and I appreciated her love of beauty, you know, given that she had been labeled something other than that."
Murphy experienced the gamut of emotions during the Passion workshop and was thrilled to watch two masters of their craft in action. "James, who was directing it and had written the libretto, had written these scenes that he would stage where Steve had not yet written the music or had only started to write the music," Murphy explains. "He would come and he would watch the scenes as they were staged as a scene. He would go away, and he may have started writing the music to that, or in some cases, nothing was written, and he would go away and he would start to musicalize it. And, a lot of it came from the words that James had written. . . . Some of the poetry came from James' poetry, at least when they write together. I don't know what it was like with other collaborators. And that was a beautiful discovery to make. And … sometimes [a song] came through my little fax machine at home, a new song. I always wanted to be there to watch it come through because I thought it was like a spinning wheel spinning gold as it came through, and I couldn't wait. It was the old days where you had to rip each page off, and I just remember crying, thinking, 'I'm the first person seeing this music!' And it just was an unbelievable experience."
Murphy also recalls the first time Sondheim gave notes to the workshop cast, which also featured Marin Mazzie as Clara and Peter Gallagher as Giorgio. "I got to listen to him give notes to Marin and Peter," says Murphy. "I was practically weeping because his notes were unlike any composer's notes I'd ever heard in my life. They were so specific, they were so vivid and rich with character and circumstance. I mean, I already had a wonderful director, but then I had the composer telling me what he envisioned and what was in his head, and I just [thought], 'Oh, my God! I can't wait until he gets to me!' And then he got to me, and it's not that he berated me in any way, but there were some [concerns]. And what we would do is he'd give the note, and then you would try it. You would do it. You would try it on for size, sitting in your chair, with [Paul] Gemignani and Paul Ford. And some of the stuff, I thought, 'Okay, I can do this, but I don't know that it's the right fit.' Even though I was in no place to make that decision that quickly, but there was something in my gut saying, 'Hmm, I'm afraid maybe I'm not the right interpreter.' Because he was wanting some things to be a little bit bigger and a little bit more extreme, the contrast in what I was doing to be bigger, and I was just afraid that I was just the wrong instrument for it. I meant as an actress and as a singer. I knew I could do it, but I thought, 'There might be somebody who could do this better than me.' . . . So that started some intimidation for me. . . . and not that Steve had said I wasn't doing well. What he'd done was given me what had been in his head. And that night I listened back [to the tapes] and I listened to me doing it and I thought, 'I don't think that's right.' I don't mean for me, like, 'I only do my thing,' because I'm mostly interested in doing something different than what I did before and interested in serving [the piece]. I was like, 'Oh, crap, maybe I'm on the wrong wavelength here. But, you know, I'm gonna keep working.'"
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