THEIR FAVORITE THINGS: Singer-Actress Roslyn Kind Shares Her Theatregoing Experiences

(Clicking on a name bolded in blue will take readers to that actor or show's entry in the Playbill Vault.)

I Can Get It For You Wholesale (1962)


	"The very first Broadway show I ever saw was my sister's Broadway debut! I remember playing the record over and over again at home and singing along to the female AND male roles. Harold Rome's wonderful score filled my house daily."

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Funny Girl (1964)


	"The first thing I was drawn to when seeing this show was its gorgeous overture. Overtures always excite me, both as an actor and an audience member. I was lucky enough to see this show in out-of-town tryouts in Philly and then on Broadway many times. I watched my sister in awe in her first starring role. I loved seeing her play with all the different leading men who passed through the production. Jule Styne's music and Bob Merrill's lyrics enticed me to want to see and experience more Broadway musicals."

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Mame (1966)


	"When Angela Lansbury stepped out on stage, she had the most amazing energy and charisma. Teamed with Beatrice Arthur's divine Vera Charles and Jane Connell’s delicious Agnes Gooch, these women brought these vivid and strong female characters to life. I started to recognize and appreciate character development."

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Applause (1970)


	"Although the show starred Lauren Bacall, for YEARS after seeing this show I always dreamt of playing Eve Harrington. Penny Fuller's performance was superb. The music by Charles Strouse and the choreography by Ron Field was infectious, fun and fabulous. One of my favorite theatre experiences.”

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Les Miserables (1987)


	"Such a compelling show. I remember being lifted out of my seat by Claude-Michel Schonberg and Alain Boublil's breathtaking musical with Herbert Kretzmer’s masterful lyrics. The show is such a beautiful ensemble piece and such a poignant echo of the plight of any struggle for social change."

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Ragtime (1998)


	"I loved absolutely everything about this show based on the E.L. Doctorow novel. Terrence McNally's brilliant book with powerful social commentary, the wonderful cast, and the Stephen Flaherty/ Lynn Ahrens stunning score came together to make glorious musical theatre magic. Brian Stokes Mitchell and Audra McDonald were sensational! I was first acquainted with Ragtime as a film, then years later on Broadway. I became aware of how much more powerful a story can be when adapted with such strength and skill employing glorious music, lyrics and impeccable staging, which provided additional depth for all the characters. I also remember the production being incredibly lavish and intoxicating to the eye.”

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Wicked (2003)


	“I remember the first time I saw Wicked that I hadn’t been impressed by a scenic design like this since seeing The Phantom Of The Opera. In both cases, they strongly supported and framed the storytelling and supplied chills and thrills, visually, for an audience that was stunned. They also didn’t distract from the dialogue, music or characters as they served integrally as a character unto themselves. Every time you think you’ve seen it all on a stage, something comes along and dazzles. Then, add the performances that blow you away and you’ve had another memorable moment in theatre.”

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Spamalot (2005)


	"I love to have fun in the theatre, and nothing was more fun than this silly and brilliant musical comedy. I was in stitches from start to finish. John Du Prez and Eric Idle brought together such fun stories from all the Monty Python movies. Oh, another fantasy to live for: to play the Lady of the Lake! Hysterical!"

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I'll Eat You Last (2013)


	"I was just recently blown away by Bette Midler's portrayal of the powerful super agent, Sue Mengers. She was a tour-de-force and played Sue with such conviction and such humor that I was glued to my seat the entire performance. As I sat watching her, I was reminded of the first time I saw Bette on a Broadway stage..."

Fiddler On The Roof (1967)


	"I was lucky enough to see Bette perform the role of Tzeitel, opposite Zero Mostel's Tevye, in this show. Fiddler on the Roof not only represents so much of my cultural heritage, but I connected tremendously with the character Chava, Tevye's youngest daughter. Tevye's views mirrored my Dad's feelings towards marrying outside the faith, and I remember during my audition process for the film, reading with the director Norman Jewison, I broke down crying as I suddenly realized I was confronting my own father."