Tonys 2014: The Actresses - THR Tony Award Roundtable

Tonys 2014: The Actresses – THR Tony Award Roundtable

Tony nominated actresses roundtable with Sutton Foster (Violet in Violet), Idina Menzel (Elizabeth inIf/Then), Jessie Mueller (Carole King in Beautiful: The Carole King Story) and Kelli O’Hara (Francesca in The Bridges of Madison County) and best actress in a play nominees Tyne Daly (Katharine in Mothers and Sons) and LaTanya Richardson Jackson (Lena “Mama” Younger in A Raisin in the Sun).

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[Applause] hello and thank you for tuning in to the first ever thr Tony's round table with six great actresses les do you think The Hollywood Reporter covers only Hollywood we are here on the scene this Tony season and here to talk all about it and so let me introduce some one by one to begin with Best Actress in a Musical Tony nominee Jessie Mueller Carole King in beautiful the Carole King musical next Best Actress in a Musical Tony nominee Kelly O'Hara Francesca in The Bridges of Madison County next Best Actress in a play Tony nominee Tyne Daly Katharine and mothers and sons next best actress in the play Tony nominee Latonya Richardson Jackson Lena younger in a Raisin in the Sun next Best Actress in a Musical Tony nominee idina menzel Elizabeth and if/then and finally last but not least Best Actress in a Musical Tony nominees sudden foster violet in violet thank you guys all for being here we're very excited to be covering you finally in in this way and so to begin with I just want to ask they're excited as well okay all right so to begin with I just want to just the general question which is I wonder if if you each remember when you first performed in front of others for whatever the reason as silly as it may be and then if there was a moment when you knew that this was sort of the course that your life was going to take let's start with you because I've seen your oh my god I played the Virgin Mary in a in a pageant at school and I carried a little baby doll that I loved it was a black baby doll but it was my very favorite one and I painted my fingernails red because I knew that the other Mary was a better part and but it was a pretty good success and when did I know I come from an acting family so I knew nothing but actors and directors and performers I think I think when I was about eight I thought this is for me oh wow well actually it was five and I was performing at a school where I ended up Spellman college I was my rice Memorial Presbyterian nursery school and kindergarten and I was doing this old man and I loved it and everybody applauded it so I figured been something was in the stars around that work for me and I went on to you know do things at my church that required this old man kind of acting there are a couple of things I can think of but maybe one of the funniest would be that I played jumbo the elephant in a barn and Bailey Circus musical adaptation of some sort I actually wore an elephant costume I was quite chubby I filled it well I was typecast but I was ten I think and I played a little British elephant coming to the circus having to leave homes very sad and she was she went through it was great tumultuous move and the the acting chops there were really something and no but I think I think my mom tells me that that it was it was things like that I was about ten when I I was kind of got the bug it was bitten by it they start clapping and you you feel like wow what is happening and I want more of that adeno is it always clear that this was gonna be like it it was always clear yeah I just have a hard time nailing down I I have very vivid memories of my grandpa and Nathan who died when I was like six but he used to take me to Disney movies every Sunday there was a festival kind of thing nearby and then I go home and act out everything behind the couch and I had this microphone and it sort of was a wooden microphone and also a sewing kit or something at the same time and so I always was doing it and then in school and then my you know the Jewish people go up to a place called Brickman's it's up up in the Catskills and it's kind of like dirty dancing and and my parents got rid of me and put me in the day camp and then we were in the talent show and we were doing cat's in the cradle and I was singing a harmony and apparently that was astounding that I was singing a pretty harmony and so all of the parents you know paid attention and I don't know that's when I just always wanted to do it very young age I started dancing when I was four so I remember like my very first ballet recital I don't think I was very good but the the memory where I feel like I it was still part of the same Dance Company in Augusta Georgia and we were doing our Christmas show and I played an elf and I was in charge of opening the toy box to let out the toy soldiers and I realized that if I did certain things people would laugh and I stole folk I didn't know I was doing focus but that was when it was all over my parents were like I got in trouble because it also but people are laughing and it's really fun I was probably like seven Wow yeah you guys well I also came from an acting family so I was rounded a lot and we went to shows when I was really little so I don't I don't really remember was a moment but it's always seemed really like normal to me i I do remember there was um my dad was in a production of 1776 and I remember we went to see it I was very tiny I think maybe I was four or something and I went with my my older brother and sister and I do remember I think he was opening night because my parents went to the party and my cousin was babysitting us but what I remember is we went home and we acted it out like on our three twin beds and we were on the and then we heard them come home and we thought we were gonna get in so much trouble cuz we were still up but then of course they came into the room and just we're laughing because their children were acting out a play about men and and it's like how could we reprimand you like that I wonder you know for folks who have done extensive work in in those other mediums that are available to you what is it that you know click I think first of all the pay is certainly probably better out outside you know with film and television the hours are probably potentially a little easier a lot worse a lot worse than television yeah well okay so but then but 80 80 week is easy don't let anybody kid really well okay so let's stick to the money so well for those of you who have done that what is it then that brings you back to the theme because it sort of like live theater there's something very exciting that happens it is I think a chose a week is the hardest thing I've ever done especially being a singer I think it's I think it's a 24/7 job you know every day I wake up in the morning and I'm like assessing every you know I'm constantly I'm constantly worrying about doing the show you know but there's nothing like performing lives you know there's our theater has 750 seats so there's 750 people there's about 20 of us onstage and it's this shared experience for an hour and 45 minutes every night and it's powerful and there's energy and it's it's alive and it's exciting and it's instant gratification or you know instant emotions it's like this thing that's you can touch and feel it's it's a consistency and being a such an inconsistent erratic industry or profession the idea of going to the office all the time for me it's like that that's my home base you know a dress a dress you show us like home that's some kind of common place a foundation I didn't mean to cut you off I'm something about that constantly going back there that makes me feel at home and we're and peace then being in LA and wondering what billboard I didn't i'm not appeared us so if somebody said to any of you you know define yourself as an actress would you would you each sage that you see yourself first and foremost as a theater actress no no no because I think the categories are ridiculous because when I came back to the theater I want to get that TV off of the front of my actors TV actors Tyne Daly you know I'd won all these prizes and stuff but I think I think that if you can figure out how to be used everywhere I've done everything there is to do in the theater except and in the acting business even radio trying to think about having I haven't done any commercials but I like to imagine that I could I could work anywhere in the movies in the television that you know but the thing about theater is it's it's alive instead of frozen anything on film is frozen including this conversation it can be cut up or you know I like the immediacy of the other day and the other thing I really like is that I get to to learn my job yeah to actually learn my job from beginning to end to start the story at the beginning and go to the end rather than doing it bits and pieces you know and and inside of that you get to experiment and fool around and not fool around but you know try things whereas in film even the big movies you're making up that day's work and it's gonna last for a couple of 38 seconds or two minutes or maybe four minutes of a scene that's going to go somewhere in the story and you are not um you don't have the advantage of knowing your job and telling that story you're do know I'm thinking how in this digitized age that we live in how important the theater really becomes because it is interactive it's interactive in a way that from the beginning that is still organic you know because every night I know it's everyone's experience that you feel the people who are talking to you most of the time while you're on the stage or eating or you know doing something but it's interactive and I and I'm hoping that it still is bigger that it gets bigger that it that it doesn't die that it we weren't talking about dying but I'm just saying that this for me the theater as opposed to a film or a movie where you know you're you're very insulated and alone that it's something about it that becomes our last vibrant frontier that is still something that you can plug into it and and remain anonymous and leave you know again we can fake if your talent is like what we you know she just came to the show to see me I didn't know thank God cuz I would have made me nervous and she came Wednesday night and I just was getting back from having been very sick and and you know we're up there doing our thing you know no matter how we trying to navigate through all that and then you can't think that our fix it in post or yeah you know and I think people that love the craft of acting I'm not speaking for everybody but a lot of people that I know love theater acting because it is about that it is about the craft and upkeeping and technique and whatever whatever you use to get through but I want to make the point of you know you said you made your comeback from having done television whether you needed to do that or not but is there a pressure when you're if you want to keep doing theater to eventually get a little television so that you can keep being valuable at the box office you know I've I've been I would like to do TV or film more to switch it up you know as an actor to try do different things and stretch myself but also I don't want to be I don't want to always feel like it's necessary we have a lot of our best actors in this country doing a little television on the side to support their theater happen you know because you can't make you know you can't make a living or or you can't get hired because you may not you're not going to sell the tickets unless you have a name like in Hollywood it you know so that's that's an interesting thing it's not just about the craft of it it's also about the business model of it and how do you guys feel when people who are primarily established as film and television actors come to work on Broadway it's happening more and more it seems and and some of them are terrific I mean Denzel and nobody could argue that he's not doesn't belong there but at the same time I've heard from a lot of theater actors that they feel that it's it's harder to sort of you almost feel boxed out of the opportunities is that where do you guys fall on this debate I mean it's kind of interesting it's kind of like you were saying before those talent is talent you heard I mean you can have you can't I think if you look at it on the broad spectrum you're always getting to get it you're always gonna get into trouble you have to look at the person attacking the job taking on the role I haven't seen Raisin in the Sun yet but all I hear is that Denzel is amazing I wouldn't judge him because he's a movie you know need I would go and see the performance and see what I think and God bless him that he can come do this and he can you know I mean be the box-office draw and do what they need to do to make the show happen but this goes back to to the beginning of your other question which was what draws you or whatever it's his heart this is his first love so he said he will always do theater he will always try and I guess it does come down to how seriously you know the people take it it's not just the knee I mean I was very impressed recently I just came across a little fact that James Franco in addition to doing Of Mice and Men he paid shows a week is going back on Monday to teach a class in LA and then coming back to that's unbelievable so I guess if you're serious about it it's it's a doesn't matter where you come from I think that starts to be very apparent who's serious about their craft and and in the minute that happens there's a lot of relaxing people oh they're good at what they love it they put their heart into it get off there they're back so you know there's always gonna be a you know we're gonna do a musical here but then they're gonna make a movie musical and and use all you know Hollywood actors if we're upset about that we can't be angry about a play here and bringing because everybody if they're if they want to do it they belong doing it they should they if I can do the category thing is ridiculous you should be able to apply your talent wherever you get to apply it you know III spent some time in in cabaret for a couple of years and I realized what it was really about was a study for doing Maria Callas for Terrence McNally because I'd been 45 years building the 4th wall and I did practice breaking the fourth wall to do that but but I got into a place where where people even if they objected I didn't care but you know to to decide that you don't belong someplace is is silly every actor insists on their own career and I think you can insisted upon it anywhere you can find to do work the best of what's available we used to say you know just just go give it a try I think the categories are deeply silly if not actually damaging category actors who have a singer actor actor singer you know the more you do the better trying to pinpoint where you can makes it easier for someone I'm sure you know let's let's hone in now on the the role for which the roles for which you're nominated and and just sort of how it first came to your attention and what appealed to you about it I some of I mean I think they're they're all great roles so that beyond that what appealed to you about it so Jessie can you tell us about Carole King how did that first come along well I do remember the like the little photo of her that popped up on one day and they said like they're gonna do a musical about Carole King and I you know now in retrospect I remember sort of clocking that and saying that would be interesting that seems like the most unbrided blogger thing you could ever do I wonder if that would work I wonder if it could work and then I I think even now I just I'm fascinated by it because to me it's sort of a story of a woman who never wanted to become a star and she did and I find that fascinating I find it fascinating Kelly Francesca what was the what was the origin story you know something like that and that's the way I love you I I loved first of all when a composer and a book writer come to you and say you know we're gonna write something for you and but they didn't necessarily write it just for me the music is definitely written in the way I like to sing and I encourage that and he wrote it and it's amazing but the character Marcia wanted to write Marsha Norman was very much a voice that she wanted to to have resounding across the world this strong woman who had choices and and was better for the choices that she made and that is something that taught me you know I knew that I wanted to do this kind of play with music idea this stronger woman this I wanted to be trying something like that to show a different side of myself talking about stretching yourself and and it's still a musical so people get lost in what that means but I really saw this as a play with music one where a person has a journey and and something to to help to teach people about something but in in turn it taught me about a lot of things my nights were filled with these cathartic experiences of my past and my present and my future having nothing to do with a love affair having to do with everything but that having to do with who my grandmother was and and was she really happy and the chances I have to be happy and how grateful I am about that and what it might feel like to lose my husband or my when you are in a play like that and you can have a journey like you may only get one in your life but that that was kind of the most fulfilling ride I've taken in a long time so it was amazing to me and Ty and Katherine and mothers and sons what was you you've known him for quite a while right well we would not you know five years maybe I've known about him for a very long time I have to say one thing to suicide by me yeah which is I remember when I first met the first person that I knew was more talented than me which was shocking freshman year in college and she was a wonderful actress and she didn't want it she wanted to go and do something quite else but she was doing work in college and she was I'm a stage manager production of hers when she played had a gobbler and her somehow her not being so needy for it freed her up to just be fabulous do not think of not it's interesting ambitious people and and less ambitious people sorry okay mothers and sons it was a commission play because of the guy that was running on the Bucks County Playhouse and they were looking for a new play and Terrance and I had a really good experience with master class and so ostensibly it's written for me but what I what I love about it is that it's it's so timely it's about now instead of then it's about what's happened to our society in 20 years and in terms of the political subject beyond that it's about love and passion and betrayal and anger and all those big kind of Greek things you know like masterclass is it's it's about big things including I'm bad at sound bites have you noticed but do you know how people deal with with grief some people take a hit in their life and they lie down on the floor and they can't get up again and other people take a similar loss or or hit to their to their lives that they didn't expect and they figure out how to go on so on bass it's about a man who's figured out how to continue his life and a woman who is not she's in amber she's frozen she has a heart like a fist and so that big idea about how do we deal with with tragedy or disappointment it is interesting to me Latonya Lena younger is a role that has been played before by Claudia McNeely got a nomination for playing it subsequently won our a Felicia Rashad one for the same role here's a great rich tradition applauding McNeal also on the film version is it daunting to step into a role like that how did you hear about it and did you have any any reservations or I had yeah I had reservations for all of five minutes and I and I stepped into it you know I wasn't looking for it I was shopping and and a call came the while I was in the store to say I we're having an issue here where you know someone's not going to continue so we need to replace and I need to do it now that was a Saturday I came up on a Friday for the weekend from Atlantis and was shooting a movie there and I came up for the weekend and I saw Jen sales wife on Friday night at Joe's Pub and Saturday I'm out shopping I was going to see Janis Joplin Saturday night and I got a call from Kenny and Denzel so the next thing I knew Saturday night I had two stage managers in my apartment with these two huge binders one was a blocking one with and I saw was like wait and then I looked quickly and said 147 page what am i said yes and i actually had called sam and said they want me to do race yeah didn't you just do raised and he said no what it was ten years ago so it came to me that way it was a miracle of serendipity it was you know just something and I think that I was concerned in the beginning because I had no prep time you know that was a Saturday I was you know they were off on Sunday I was in rehearsal on Monday so it was nothing that was you know planned on my part to be a part of but it has been the biggest and the best gift that I could have ever been given and the story itself is so timely Lorraine Hansberry oh god bless her she wrote this in the 50s she was 27 years old she died when she was 34 and the themes that she tackles then and as an african-american woman call it then she was it I can't imagine that she was talking about abortion and an energy when she's saying that the bombs that they're dropping is affecting the weather she wrote this in the 50s I can't imagine that she took a woman she was such a feminist view and imbued her with all of these characters in in Beneatha who was obviously her you know to have things come out of her mouth that black people don't say she said there is no God it's an idea that people attach themselves to for whatever reason to get through but the dreams are getting deferred on every level so what is God doing these are not things that a normal person says she was brilliant she was just genius in it and for him for Denzel was playing walk Sally he takes this part I told somebody else when you come into the theater you're asked to believe you step in through a door you know a mirrors anyway so for him not to be quote unquote the age that you know everybody think he's older the sadder part is that this is still happening this is still occurring in men his age so whatever age he is he's still having to go through this Arrested Development this this life that's less than you know because of the where he's living in the conditions of our society so at Lina is mama and like you know with Terrance's play and like any play where the mama is is there there's certain characteristics that you just know so I was able to you know modernize a lot of people that I know that's great mom you you take those things along with you and you try to figure it out cuz I had to figure it out trust me I came in three weeks later I was trying to figure it out and and being by myself in New York you know untethered from my husband and his job I'm like you know wait me really you know and I love acting and I love the theater and I love the people around me but if it was not for all that great actors in that player knows where I would be you know this is that's how it happened for me and it's still happening there's all of this right now that's happening it's just I'm almost afraid to look at it you know cuz it's like just don't look just myopic view told through and just tome through so thank you and Dean have been a few years since you were last on Broadway what was the what how did this come together with if that it's a reunion of sorts it's the producer from wicked who I love very much and the director friend and we just wanted to work together so badly through the years and just trying to find something and they had an outline with Tom Kent and Brian your key real embryo of an idea and just sort of all had lunch and dinner and I just you know I had a baby I was out in LA I was you know doing some concerts and stuff and just I really wanted to find something original it's it's just what's worked for me and like I said I think it's the easier route for the actor because they write everything for you and there you are and you don't know where where the beginning and the end is the chicken or the egg it's not the easier route for the people who are creating it but it's just the most beautiful process – to be called in to one of these amazing composers you know homes and they say they just had this idea and what do you think and maybe that song never even emerges you know three four years later but well maybe a verse of it does it just to be a part of their artistic process to be invited into that what I think is such a sacred space is it's an honor and it doesn't I've been very lucky you know but there are plenty other readings that I've been a part of that haven't come to fruition and we all know what what that is and I just it's just important to me to kind of put out the word about the the respect and the that I have for those people that are willing to take those risks and and create something from scratch and and sudden violet had sort was never sort of planned to be what it became right just one-night thing originally we originally started as a one-night-only concert over the summer and I had after anything-goes which was the last back in 2011 I was sort of experiencing some burnout and just ended up going to LA to do a film television series and really was loving my life out there and decided to come back because Jeanine called me Jeanine Tesori the composer violet and said we want I want you to do this one night I was like perfect I can remind people that I'm still alive and that I still like exist and like I've haven't left forever and and so I came back to do the concert and it just became very clear that it was something very special and I remember as soon as we were done I was like we have we have to this can't like we have to keep we have to do it we have to keep going if something has to happen and it took a it took a while but I wasn't actively looking for something to come back to New York with but it just it felt perfect and especially after anything goes which was sort of the biggest broadest wildest character I've ever played to play something that's the complete antithesis and to be in a in a show that's so simple and there's no set the we're all on the state you know that every it's it's it's just been a gift and a miracle so with our remaining a few minutes I want to do something kind of fun which is a rapid-fire around just the first thing that weirdest thing in your dressing room most unexpected let's put it that way [Laughter] I have velociraptors climbing up my pretty orcas no that's that's good I used to have a picture of Patrick Dempsey which was sort of gifted rejected that was odd that's something I would normally come across oh it's a pretty spare pretty much yeah bathrooms person who's a towel is that your show oh it's it's a cookie jar that's made out of a pile of Oreos that was on there's nothing in it because I think it but it's kind of silly looking people love it person whose attendance at your show has meant the most to you I think this one you dr. death my father close to the opening class it's pretty huge yeah like Jessica Hugh Jackman was there not Barack most of you know probably my my voice teacher from home who's old well my parents got her up here and I'll cherish you gotta come I'm waiting on my teacher to come I'd love my teacher to come he's very old now but I've got to the place where you know they say do you want to hear somebody's in the audience or not I was one of here because I figured that someday to do the play for I don't yeah I don't I don't did get scared by by so if you're coming then I can somebody else to play for I get really do you 30 40 years okay fine pre-show routine or superstition I used to have a lot of superstitions but then I would get neurotic if I missed something so then I went I have no superstition so but I don't know I don't really have anything yeah I think I purposefully fryer that yeah that seems to be I shouldn't come in yeah I think actors are good at ritual so there's a sort of order of the book where the brushes are in this stuff yeah I don't want to put your face on at least theater actors there's there's a kind of time where you're where you're doing this ritual thing but I I i did have to yell at somebody yesterday because we share an alley with four theaters and there was a Whistler in the alia please desist from whistling nearby most whoever's whistling out there desist what you what you do during intermission I don't have any member sena no intermón that's right that's right I have six minutes to pee mine's just getting monotonous I had come what what do you do during your off day we were talking earlier the 8:00 show week number if you could make that number something you'd be happier with what would that number be seven and you got two whole days off two whole days and two whole nights to actually have a weekend yes you in one day is just it doesn't allow for any anything you have to just that you're exhausted whether it's a much more physically if I got two whole days of two whole nights you know you would do too if I had to do it I would do tuned one day just to get the break that the complete time off oh but in the West you should do the five show marathon right Friday to Saturday to Sunday right yes which which is tough but you did actually that's what you do a lot yeah and then you get one man Tuesday off I know Wednesday's beat me up because we have an early curtain on ways there's a space in between his heart that suddenly feels so what we only have one on Sunday you know that it's just compared to a wicked and other things I've done where was just it's just like in and out it's heaven one in get longer morning and the whole night okay last few last minute time it's mostly dying thing that audience members sometimes do and our stage the front row I could like touch that was a barrel on the front row eating a bag a big bag of peanut M&Ms and I was like gosh that bag is really large and she's not stopping and I can hear it and I'm looking at her and she's looking at me and her mom's going like oh she's looking at you and she's literally eating this Gary Gary about it because I did this once where they start right when I started my first very quiet moment it started to open I look down at her she's staring at me here's what happens I think and this is my theory and Stephen said I was wrong they do it on purpose because then they become part of our show you take them in you see and then well this is just my theory if you somebody if you take them in and give them time they're all this they're part of your your process I have one shame because they do when they sit down they're part of our process how about the chain of coughing that happens yeah everybody starts especially right now does the other day she caught I always sit you know juts out into the audience so you're right this here and in touch your toe right yeah and this guy was on the front row with his this is our famous would the cell phone because initially there was no announcement in our theater about no right he said no no saying okay aren't you gonna say something what you gonna like say put that I said no he's right here the edge of the stage and nice work he can get it like right like this and she knows because she played the road too and all of a sudden one day and there's a guy who know this is what I see no he was an older man I don't think he knew but I was like you're kidding me I watched it slow motion you guys about one that I wonder if you have you probably may have mixed feelings about this one entrance applause how do we feel about that I I didn't want it on this one because it was such a moment of like storytelling you know to come down and start this journey so we tried to we tried to either build it or like if it but I was almost like I was begging for it cuz I'm walking down stage and I said to Bart because they did it in Williamstown with the girl who when I was pregnant she stood in for me and they didn't it was William son so they didn't do that and when we started the process the rehearsal process as I said this kind of is asking and he goes what oh that's bad like you don't sorry some people actually choreograph it in Kathleen Marshall does sometimes which is a smart thing then it's over with right if it happens but and it happens more on musicals I don't know but this time you you don't know how to stop it and then it gets in the way I mean it's a strange thing because you realize they're applauding fruit it's kind of odd like we have it I just literally stand and the lights come on I'm just there and I'm not oh oh oh I have another one from them please so this is my favorite so the lights come on I'm standing there and I play a very you know I'm waiting for a bus I'm standing there and I have sort of a just a face on and I heard someone in the audience go because it's you not your character and you're trying to be in that moment I've got three great entrances one is roses entrance which initially was a surprise because because she enters from the back and walks through the audience but now that it's a codified play the entire audience is oh yeah watch you come in but that's a built in that's a built in to cover the entrance hand with masterclass it starts with Maria comes on the stage and we had a genius thing from my director which was I would stand there and wait for the applause to could be completely over which is tough before she says no applause this one we have a similar thing where the two characters are looking out at a great expense of view and I said to Fred you know we have to wait til it's over and then wait longer so that we know that that's the beginning of the play so we wait for the linked it's gonna be there right and then it dies and then you have to wait another very harrowing force five ten seconds before you know that these folks are looking out at a Vista it depends I what I say is when my I don't mind it it just like I've been working my ass off a really long time it feels good to come on stage and musical and have people know who I am I don't think I mind it when it's went with Francesca she's somber like it's this moment it's like you it's like and then when they do clap you don't take it in because it's you know like so that Bennett and it's musicalized and so it gets a little comfortable yeah and you can hear it but she doesn't I mean I can i'm yes selling aware of ice yeah so when they said did you hear that cell phone go up I think well I did but Katherine did right what do you hope people leave your show thinking or doing differently above all else if you can in a sentence or two the the the thing that you hope people will leave your show thinking or doing definitely than when they came into the what you want them to take away from it above all else time that they've been moved I don't care which direction yeah I'm sorry no no God Boop there's always something left alone mm-hmm I shall not judge so much you know every day is a new opportunity to start your life over again to not first thing again when I was two not to look beyond what you see physically and someone else to realize that there's more to a person than then then what's always on the outside smoking online says be brave enough to be kind and to come from love no matter how hard it becomes protect yourself but be brave enough to do that awesome well thank you all so much and it's been so fun catching up with all of your shows and can't wait to see what you do next so thank you [Applause]


  1. If I ever get to watch Idina in theater, I woudn't be able to stop myself from clapping when she steps out the stage. Am glad to know she does appreciate it. She is so honest and just keeping it real. I like how she answers on point, not like some who took time explaining and digesting things.

  2. I wish all the roundtables for women were more similar to this, because most of the other ones, like all women interviews leads to their roles as tabloid fodder and nurturer gatherers often that it becomes an annoyance. I am not against women discussion family, motherhood, and pop-cult topics or beauty but it becomes 40% or more of the interviews and I don't get to hear about the craft or business or repertoire of their actual work. Well done.

  3. the opening applause is definitely asked for in If/Then she comes on stage and says "hey, its me" and then pauses because the theatre erupts in applause. I like when they build it in.

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