By Judy Samelson
29 Dec 2009

Question: Do you think she got what she wanted?

Gless: She wanted sex with one man. The ad said, "I would like to have a lot of sex with a man I like." One of the lines [in the play] is that she had no idea it would be so "plural." But that's what she wanted. She didn't want marriage. She did get what she wanted. It took many years. But also, during the process of trying to find this man that she was going to have all this sex with, she went through this whole self-discovery. A son she'd never seen in 15 years. Dealing with a husband that she deserted. Dealing with memories of her father who didn't love her. So it deals with the other men in her life that were very, very important whom she had to face. She had to face those demons, especially the relationship with her boy, whom she adores. He had a troubled childhood. It's all interwoven in the play. It's not just her on her back. That's boring. [The play is] funny. It's sad. In London, I'd hear people laughing. And I'd hear people crying. It's just something that appealed to me, and I really loved her for doing this. I do believe that there are lots of women out there who wish they had the nerve to do this. It's more important than just getting laid. She really did sort through — she was forced to deal with — her other demons that she'd buried. So in the end she's a much more whole, complete woman who could then pick the man she wanted who was right for her rather than searching for everybody else in these men. I shouldn't say anything, because I'm sure she would deny that she was searching for them. I don't think she was, but they kept coming up at her. She was in therapy while she was going through this.

Question: Much of the play allows us to hear what's going on in her head. And some scenes are quite explicit.

Gless: I actually have an orgasm on stage.

Question: Well . . . yeah . . . that's what I was referring to. It's certainly daring and very cleverly staged by Chris Smith and Jane Prowse.

Gless: When she meets Jonah, her first lover, in the hotel room, and he's saying, "Talk to me dirty, Jane," she literally gets out of bed. Jane Prowse said, "Sharon what you are saying to the audience is what's going on in your mind. You're really over there. I'm having you get out of bed, but I'm leaving you there because we're building prosthetic thighs to stay there. So you're really still there but you're coming over and sharing what's going on in your mind. You're telling the audience what Jane's thinking in bed. And in the middle of it you orgasm; you don't even expect it." The orgasm sneaks up on her. She doesn't know it's going to happen, and it does while she's trying to talk to the audience.

Question: Were you ever concerned about what you might be asked to do on stage?

Gless: Never. I knew when I bought the project. I knew what I was in for. I really didn't know if I'd find a producer like Brian Eastman or a director like Chris Smith who would be as daring to push and encourage me.

Question: I want to come back to that word: risk . . .

Gless: You mean, like my career? [Laughs]

Question: Have you ever done anything in your life that could be considered similar in terms of taking a risk, taking a leap?

Gless: Yeah, I went into this business! I'm serious! I went into this business with no training. They took me from a secretary's desk; put me in front of a camera at Universal. I think I've taken a lot of risks. I've picked roles that are not ordinary. I've been lucky enough to be offered roles like Christine Cagney and Debbie Novotny. I mean, shows that change our world.

Question: From the very beginning — even from your early television movie career — you've played what I would call less-than-perfect people.

Gless: They're so much more interesting than whatever a perfect person is. I loved the fact that Christine Cagney was so flawed. It was the first time there was ever the hero of a series who was so selfish [laughs] and just went after what she wanted to go after, even if she had to run over her own partner. She didn't mean to run her over. She didn't see her! And she was a drunk. They hadn't done that before. They copy a lot now but there had never been a lead in a series that was a raging alcoholic like that — and hid it. We had the luxury and the longevity of four years. We were a six-year show, but after the second year they slowly decided to build to that horrible thing that happened to Christine. . . . But the thing about risk — I went into this business. It's scary all the time to me.

Question: Even at this stage of your career?

Gless: Sure. Are you kidding? I'm petrified. To do this part? What if nobody comes? I feel responsible to Brian cause he believed so in it. This run in San Francisco will determine whether it ever sees the light of day again. It's what Brian Eastman calls experimental theatre. This is not a commercial production. This is an experimental production. But he's pouring a lot of his own money into it because he believes in it. I do believe its final destination is the West End. I'm fascinated and so pleased at how they use their older actresses. . . . I think they handle their older actresses in a much more sensible way. Cause they see they're hot. They know what they're doing. They've been around!

Question: Well, women in America are marginalized in so many ways, once they are of a certain age.

Gless: Yeah, but hopefully there are women out there who maybe never had this dream but would cheer this woman on. She's a real person. She actually did it. Not without pain. There was a lot of pain. But it didn't deter her, and that's sort of that wonderful naivetι in her. She wanted it and she didn't let go until she found it.

Question: What do you think she would think about her story being presented on stage? Has she read the play?

Gless: She finally agreed to read the script, and we let her give her notes. I don't know if all were honored, but if things were really bothering her, we didn't need her to be upset. I mean, she's a real human being, that's living. She's going to be there opening night. And this is hard for her; this isn't a joy ride for her. But we encouraged her to please come.

Question: One final question that has nothing to do with the play: You have said in other interviews that if you couldn't act, the thing that you would like to do is to work with people who are dying. What qualities do you think you possess that make you believe this is an area where you have a gift?

Gless: I did it for both my parents. Especially after my mother died. I was very aware of the fact that it was an honor to be let in to that part of their journey. She let me in and I was very, very good at it. I fought everyone I had to fight — doctors, nurses. You need someone to fight for you when you're that old and you're on your way out and there aren't always people to do that. And I have — I say this in all modesty — but I do know one quality: I do have compassion. And I think I've had this gift of compassion, maybe, all my life. I don't mean that in a boastful way, it's just something that my mother instilled in me. It did hurt me to watch my mom go, but I knew that she went in the most beautiful way. I made her not afraid. I know she was afraid. I think that most people who die probably are. And I'm interested especially in people who are alone, who don't have anybody. There are so many people who are elderly now and I don't believe they're respected. It's just something that I think I would like to do. It certainly doesn't require recognition, like what I do now. But I knew I'd done a good job.

Question: It's recognition of a different sort, maybe. One on one.

Gless: Yeah, if they know there's this crazy blonde lady who's going to come and see them today and hold their hand and listen to them talk or talk to them about their fear. And because I'm into metaphysics, I know there's something really swell on the other side. I know this isn't the end. I don't believe in hell, but I do believe in an after-life of anything we choose. I do believe my mom sees me. I believe she looks after me. This isn't it. This isn't the end, and if I can make people feel that — because I believe it — this isn't the end. I'm not just saying it to make them feel good, I've been studying it for 35 years, and I've experienced many things that prove it. There are really wonderful things that we can go to and be anything we want. But the crossing over is very scary and I think lonely for so many people who don't have children or whose children deserted them. I'd like to have that honor. I think it is an honor. . . . It's a kindness that I would love to have the opportunity to offer to old people who are alone — or not old — those who are dying and they're alone. . . . This is not ego, not ego at all. But I really get that I was good at that and even though it made me sad [to lose my mother], it made me feel good, too. Obviously, you risk getting hurt because you become emotionally involved. But what's wrong with that?

Question: What's wrong with taking an emotional risk? That sounds like Jane Juska talking.

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For ticket information and more about the play, go to ARoundHeeledWoman.com.

Judy Samelson is the former editor of Playbill. Her monthly Shelf Life column appears on Playbill.com. Write her at jsamelson@playbill.com.