56. The Evergreen Audacity of Stephanie J. Block (with Stephanie J. Block)

Summary

Podcast Title: Sentimental Men
Host/Authors: Quincy Brown and Kevin Bianchi
Episode: 56. The Evergreen Audacity of Stephanie J. Block (with Stephanie J. Block)
Release Date: November 3, 2023
Guest: Stephanie J. Block
Description: Quincy Brown and Kevin Bianchi delve deep into their admiration for women in musical theatre, featuring an in-depth conversation with Tony Award-winning Stephanie J. Block.

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1. Wicked’s 20th Anniversary Weekend Recap [02:04 – 11:40]

Overview:
Quincy and Kevin kick off the episode by reminiscing about their experiences attending the 20th anniversary celebrations of the iconic musical Wicked. They highlight the emotional and energetic atmosphere, interactions with cast members, and behind-the-scenes insights from a panel they hosted at Comic Con.

Key Discussions:

• Comic Con Panel Highlights:

  • Susan Hilferty’s Stories: Quincy recounts Susan Hilferty's engaging storytelling about the early days of Wicked, including costume inspirations and scenes that were cut.

    "Susan Hilferty has the Lindsay Heather Pierce thing, where she's the type of woman you can sit down and talk to for truly six hours straight." (03:15)

  • Costume Evolution: The duo discusses the transformation of Glinda’s black coat into Nessa Rose’s vibrant costume, showcasing the intricate design process.

    "Glinda had a black coat on that she would take off to have the yellow dress or whatever. And that coat became Nessa Rose's costume later on." (04:50)

• Block Party Experiences:

  • Fan Engagement: Quincy describes the Wicked block party's lively atmosphere despite chilly weather, emphasizing the strong fan community and the camaraderie among attendees.

    "It was very love filled. I thought it felt like friends and family all around." (08:44)

  • Performances and Interactions: They share memorable moments from the Pink and Green performances, including interactions with fellow actors like Jenniclair Mason and spontaneous moments with Kristin Chenoweth.

    "She touched my lapel, and she said that I look handsome." (13:11)

2. Behind the Scenes of Wicked’s Anniversary Performance [11:40 – 27:04]

Overview:
The hosts delve deeper into specific highlights from the Wicked anniversary weekend, including on-stage performances, interactions with original cast members, and the emotional impact of witnessing actors embodying their beloved characters.

Key Discussions:

• Front Row Experiences:

  • Intimate Observations: Quincy and Kevin reflect on sitting front row, allowing them to experience the nuanced performances and off-mic ad-libs that added depth to the show.

    "I was watching, like, the small indie Wicked and getting to see the different choices that were happening and, like, the actual theatrical piece." (22:37)

  • Emotional Moments: They recount heartwarming scenes, such as the trio of Eden, Shoshana, and Julia interacting on stage, which felt like a reunion of old friends.

    "It was a powerful trio. It was really cool to see everyone on the hallowed grounds of the Gershwin theater at the same time." (14:20)

• Costume Mishaps and Adjustments:

  • Choreography Challenges: Kristin Hilferty shares an anecdote about costume complications during choreography, leading to a streamlined, all-black and white dance sequence to maintain the show's flow.

    "Wayne Cilenta was like, what is happening? I cannot see my choreography." (66:16)

3. Introduction of Stephanie J. Block [27:04 – 27:42]

Overview:
Quincy and Kevin welcome their special guest, Stephanie J. Block, a renowned Tony Award-winning actress with significant contributions to Broadway, including two national tours. They express their excitement about having her on the show, especially in the context of discussing her portrayal of Elphaba in Wicked’s 20th anniversary.

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4. In-Depth Conversation with Stephanie J. Block [27:42 – 67:35]

Overview:
Stephanie J. Block joins Quincy and Kevin to discuss her recent work, including her role in Sunset Boulevard, her approach to character development, her Christmas album, and balancing her professional and personal life.

Key Discussions:

• Role in Sunset Boulevard:

  • Character Development: Stephanie explains her approach to embodying Norma Desmond, focusing on the character's mental health and the use of humor as a coping mechanism.

    "Humor is the universal way to cope. It allows the character to connect with others and deflect uncomfortable situations." (40:37)

  • Collaborative Process: She praises director Sammy Kanald for her collaborative style, which allowed the cast to contribute creatively within a structured framework.

    "She allowed us to put it together ourselves while guiding us with the essential puzzle pieces." (40:40)

• Creating Her Christmas Album:

  • Inspiration and Tracklist: Stephanie shares her inspiration behind her Christmas album, blending classic holiday tunes with her unique interpretations. She lists the tracks, highlighting collaborations and new compositions.

    "Track 3 is 'Merry Christmas, Darling,' and track 4 features 'Little Drummer Girl' with Vivian Arcellis." (55:22)

  • Production Insights: She discusses the challenges of producing the album during a busy schedule and her commitment to maintaining the integrity of classic Christmas music while adding her personal touch.

    "I wanted to respect the original feel of the songs while making them my own." (52:34)

• Balancing Family and Career:

  • Relocating for Roles: Stephanie talks about the logistical and emotional challenges of relocating for roles, especially with a young child, and how her partnership with Sebastian Bianchi supports her career decisions.

    "We made a big, bold move to live in California because it allowed us to say yes to opportunities we otherwise couldn't." (49:17)

  • Future Projects and Aspirations: She expresses interest in future collaborations with Sebastian and potential roles that align with their family's dynamic.

    "We've discussed doing a concert version of 'Annie' with Vivi as Annie and Sebastian as Daddy Warbucks." (59:07)

• Insights on Broadway and Mental Health:

  • Personal Connection: Stephanie shares her personal connection to Sunset Boulevard, relating it to her experiences and the broader conversation about mental health in theatre.

    "Our production aims to humanize Norma, making her a relatable character struggling with societal pressures." (34:36)

  • Impact of COVID-19: She reflects on how the pandemic influenced her career decisions, emphasizing the importance of flexibility and resilience in the performing arts.

    "Covid forced us to rethink our lives and careers, leading us to make changes that supported both our professional and personal lives." (62:32)

5. Highlights and Memorable Moments [67:35 – 63:53]

Overview:
Throughout the conversation, Stephanie shares vivid anecdotes from rehearsals, performances, and interactions with fellow actors, providing listeners with an insider’s view of Broadway life.

Key Discussions:

• Backstage Stories:

  • Costume Challenges: Stephanie recounts moments when elaborate costumes interfered with choreography, leading to impromptu solutions to keep the show running smoothly.

    "Wayne Cilenta couldn't see his choreography with three sleeves on the back of my blazer, so we had to adjust in real-time." (66:16)

  • Cast Dynamics: She describes the chemistry between cast members, especially the seamless collaboration with her husband, Sebastian, enhancing their on-stage performances.

    "Our chemistry comes from knowing each other's strengths and being able to support one another effortlessly." (49:27)

• Creative Process:

  • Script Adaptations: Stephanie discusses how they infused humor into Norma’s character to balance her dark narrative, making her more approachable and relatable to the audience.

    "Adding layers of humor allowed audiences to connect with Norma on a deeper level without diminishing her struggles." (39:00)

  • Directing Influence: She praises director Sammy Kanald’s ability to foster a collaborative environment, encouraging actors to bring their unique perspectives to the production.

    "Sammy's approach of guiding us with essential elements while allowing creative freedom was instrumental in shaping the performance." (40:40)

6. Future Endeavors and Closing Thoughts [63:53 – 67:35]

Overview:
As the conversation winds down, Stephanie shares her aspirations for future projects, the importance of maintaining work-life balance, and her ongoing passion for theatre and music.

Key Discussions:

• Upcoming Projects:

  • Potential Collaborations: Stephanie hints at possible future collaborations with her husband and explores ideas for new roles that resonate with their personal and professional lives.

    "We're excited about the possibility of performing together in projects that blend our talents and strengthen our family bond." (63:07)

• Personal Reflections:

  • Growth and Evolution: She reflects on her growth as an artist and the lessons learned from navigating the challenges of balancing a demanding career with family responsibilities.

    "Every role teaches me something new about myself and how to integrate my personal experiences into my performances." (62:32)

  • Gratitude and Community: Stephanie expresses gratitude towards the Broadway community and the support system that has enabled her to thrive both personally and professionally.

    "I'm incredibly thankful for the Broadway family that supports and uplifts each other through every challenge and triumph." (61:12)

---

Notable Quotes with Timestamps

• Susan Hilferty on Engaging Storytelling:

  "Susan Hilferty has the Lindsay Heather Pierce thing, where she's the type of woman you can sit down and talk to for truly six hours straight." (03:15)

• Glinda's Costume Evolution:

  "Glinda had a black coat on that she would take off to have the yellow dress or whatever. And that coat became Nessa Rose's costume later on." (04:50)

• Stephanie on Humor as a Coping Mechanism:

  "Humor is the universal way to cope. It allows the character to connect with others and deflect uncomfortable situations." (40:37)

• Balancing Career and Family:

  "We made a big, bold move to live in California because it allowed us to say yes to opportunities we otherwise couldn't." (49:17)

• Stephanie on Collaborative Directing:

  "She allowed us to put it together ourselves while guiding us with the essential puzzle pieces." (40:40)

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Conclusion

In this enriching episode of Sentimental Men, Quincy Brown and Kevin Bianchi provide listeners with a heartfelt exploration of Stephanie J. Block's enduring impact on Broadway. From celebrating Wicked’s monumental 20th anniversary to delving into Stephanie’s nuanced portrayal of Norma Desmond in Sunset Boulevard, the conversation offers a blend of personal anecdotes, professional insights, and inspiring narratives. Stephanie’s dedication to her craft, her ability to balance a thriving career with family life, and her passion for storytelling resonate deeply, making this episode a must-listen for theatre enthusiasts and aspiring performers alike.

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Note: Timestamps correspond to the provided transcript and are indicative of when each quoted segment occurs.

Transcript

[Kristin Chenoweth]

Hi, y'all. This is Kristin Chenoweth. Hi, I'm Gloria Stefan. This is Sara Bareilles. Hi, I'm Patti LuPone. This is Lin Manuel Miranda.

[Kevin]

You're listening to the Broadway Podcast Network.

[Kristin Chenoweth]

Oh, this is so fancy. Celebration never.

[Kevin]

Oh, my gosh. This gift or this curse that I have inside. Oh, my.

[Quincy]

My name's Quincy.

[Kevin]

And my name's Kevin.

[Quincy]

And this is Sentimental Men from theaterly.

[Kevin]

We are here to talk and maybe scream about our favorite women in musical theater.

[Quincy]

Hi, I'm Tyler, founder of Cozy Earth. When you're thinking about the perfect gift, what better way to show your loved ones that you care than by giving them something that helps them feel better, sleep better, and add superior luxury to their everyday life? If you sleep in our sheets for 100 nights and don't absolutely love your experience, we'll refund your money. No questions asked. This year, give the gift of Cozy Earth. Once they try it, they'll. They'll never go back.

[Gloria Estefan]

Use code [e-mail] and save up to 40%. That's cozyearth.com Spotify.

[Quincy]

Good morning, Kevin.

[Kevin]

Truly good morning, Quincy. I feel like we're on the View or something.

[Quincy]

I haven't felt this way since. Who was it? Who was the one that I did at like 4:00 in the morning at. When I was home in Hawaii?

[Kevin]

Shoot, I don't remember, but.

[Quincy]

Oh, it was Leslie Kritzer.

[Kevin]

Oh my God, yes.

[Quincy]

I just remember feeling hungover, dead at 4 o'clock, laughing with Leslie Kritzer.

[Kevin]

Well, here we are back at that place.

[Quincy]

It's 7 o'clock and mentally, two days, or a little 36 hours maybe after the anniversary palooza that was Wicked's 20th anniversary weekend. I don't know where to begin. Well, first of all, very exciting episode, guys. Double whammy.

[Kevin]

Double whammy. I know. We haven't even addressed the Tony Award winning elephant in the room of this episode yet.

[Quincy]

Yeah, SJB is here. Back again for another chat with us.

[Kevin]

Back again. It feels so Quincy. She has come home at last.

[Quincy]

And it feels right that we're talking to SJB in our 20 year anniversary recap episode as well.

[Kevin]

Yeah, yeah, it does. It's like two of our most favorite special things happening all at once.

[Quincy]

Okay, so how do we do this? Start with.

[Kevin]

Okay, well, first, do you wanna talk about Comic Con really quick? Cause we haven't had an episode since that and we got to do a really cool thing and host a panel at Comic Con with Christa and Mary. But new to our roster of ladies is Mary Beth and Susan Hilferty, who.

[Quincy]

Were delightful, delightful personalities, I must say.

[Kevin]

Yeah, I mean, it was like meeting Giants legends.

[Quincy]

Susan Hilferty has the Lindsay Heather Pierce thing, where she's the type of woman you can sit down and talk to for truly six hours straight.

[Kevin]

Correct, Correct. And she's so. Yeah, she's so, like, captivating when she speaks. But then she does this funny thing where she'd be, like, telling us this story and, like, Quincy and I, I would be, like, on the edge of our seats, and she'd be like, but I don't have to tell that at the panel if you don't want to.

[Quincy]

She kept, like, teasing things, or. It was as if what she was saying, she wasn't realizing that what she was saying was so fascinating and interesting. So she kept asking us for direction on stories to tell, and we were like, listen, anything you have to say. She's talking about the early days of Wicked and San Francisco and the inspiration behind this costume and scenes that got cut and this song wasn't working. And no could figure out how to make this scene work as if it was just, like, basic information. Which, yeah, it is for her, but for us, it was very, very fun and exciting to hear.

[Kevin]

Very fun and exciting to hear. And, I mean, we got some really good tidbits from her.

[Quincy]

I'm trying to think back to, like, what were the highlights from this panel that we should relay to the listeners?

[Kevin]

Well, one thing that I really loved that Susan said was kind of a double whammy is that there was a Dr. Dillam. One of the scenes they couldn't make work was this Dr. Dillimond funeral scene. And the reason, like, that used to go into the train Emerald City scene. And so the reason Elphaba is in black in that scene is because she was coming straight from the funeral.

[Quincy]

Glinda, connect some dots for me.

[Kevin]

Connect some dots. Yeah. And then Glinda had a black coat on that she would take off to have the yellow dress or whatever. And that coat became Nessa Rose's costume later on in the costuming conversation, which was very cool.

[Quincy]

Should we talk about Mary Kate Morrissey?

[Kevin]

I think we should.

[Quincy]

Singing, defining.

[Kevin]

Not Mary Kate Morrissey as Elphaba. That was Elphaba in the room.

[Quincy]

Elphaba. Okay, so the panel. We did this panel, Disney World, it was fast and furious. First of all, an hour goes by so quick when you have four icons to talk to and talk through. But we do our panel for the lovely Comic Con audience. And then very randomly, the music starts playing. Yeah. An Alphabet walks in from the back of the room. Handheld mic in hand.

[Kevin]

Yeah. Voice of God mic.

[Quincy]

No. Reverse and shame. Capital S. No bass. Defying gravity.

[Kevin]

Yeah.

[Quincy]

For the comic conventions.

[Kevin]

Fluorescent work lights.

[Quincy]

Act 2 dress.

[Kevin]

The convention center.

[Quincy]

Oh, my God, it was so cool to See the Act 2 Dress up.

[Kevin]

Clothes in the audience. This poor Elphaba, Shiva chic Slade. I didn't realize how colorful that dress was.

[Quincy]

There's a lot of. Listen, I'm colorblind. Wait, can I jump forward to the anniversary? Was that thing around my neck not. Not green?

[Kevin]

Um, I mean, it wasn't like, highlighter green. It was maybe, like, a pale green. Sorry. It wasn't like, yellow.

[Quincy]

Someone informed me that it was not green, and I went through the entire night thinking it was green. That was a tough. It was tougher than I thought.

[Kevin]

Tough assignment for you.

[Quincy]

Get dressed in green. Anyways, so take this with a grain of salt, but I'm colorblind. I did feel like there was a lot of purple and blue, like, undertones to the Act 2 dress that I had not clocked before.

[Kevin]

There are. And there's lots of, like, red.

[Quincy]

Didn't see that for sure.

[Kevin]

Definitely. And it's very shimmery, which then spoilt, like, just to fast forward a little bit to the anniversary. Then being able to see it that close on stage and see how the light hits it and makes all those colors pop out was really, really cool.

[Quincy]

Well, and so that's what I was thinking, too. I really do want to have Susan on because anniversary. We were sitting front row center for the 20th anniversary performance of Wicked, and seeing the Act 2 dress, it is so intricate, and, like, the flow of the fabric patterns are all very different and seemingly intentional. And I'd be curious to actually, like, dive into how that dress. How and why that dress was constructed in the way it was. Because seeing it up close and it has, like, that little V down that, like, flares out.

[Kevin]

Yeah. It's so stunning. It's gorgeous. And I think I remember. Yeah, at the panel, she said that the same woman has been, like, hand laying all those ruffles for 20 years. And she is retiring now, so I'm kind of taking her spot. Who's. Yeah. Where do I apply?

[Quincy]

Okay. Anything else on Comic Con before we. It feels like we're moving into the weekend. So Sunday occurred. Sunday was the fan day. It was the Wicked block party outside of the theater in the morning, and then the pink performance. Matinee and the Green evening performance, first of all, woke up Sunday morning, it was a little chilly and it was raining. My first thought was, are we gonna be standing in the rain at this wicked block party? I forgot that the Gershwin theater has that giant, giant, what do you even call it? Garage awning?

[Kevin]

A breezeway.

[Quincy]

Breezeway. There it is. I was not expecting, I don't know what I was expecting from that block party, but there were way more people than I thought there were gonna be. And the energy was so, so good.

[Kevin]

I agree. I was like, what are vibes at 10:30am gonna be? And like we can just be honest. Like the type of people who go to an event like this, us included, are like aggressively enthusiastic people. So I was like, what is all of that shoved into the breezeway going to be? And it was, I think really fun. Like it wasn't chaotic, it was just like. No, it was like everyone was there to have a cool time.

[Quincy]

It was very love filled. I thought it felt like friends and family all around. You could kind of look anywhere and have someone to chat with and kiki with. I like, I rolled up, you were already there and I was pretty tired. It was Halloween weekend too. This weekend was a lot.

[Kevin]

Yeah, just fill in whatever gaps you need to knowing that it was Halloween weekend.

[Quincy]

So I'm rolling up after going out for Halloween the night before. Pretty exhausted, excited for the day, but a little nervous as to how I was going to pull it off. And I get there, it's a way more people than I was anticipating. I'm like, okay, I need to find Kevin immediately because I'm lost in the sea. Luckily you're tall. Beeline towards you as soon as I got you. I don't even think we really had a moment to say hello. You and I, we kind of.

[Kevin]

No, I didn't hug you high that day.

[Quincy]

We were just thrown into it and just meeting everyone and chit chatting and running around. It was so fun.

[Kevin]

It was really cool to meet a lot of people who have been listening to the podcast since the beginning but who just aren't in New York. Like Bri, we've met a bunch of times, but getting to meet Kylie and Lauren and all of the day oners, if you will, who made the pilgrimage for the 20th anniversary.

[Quincy]

I was shocked at how many people were flew in for this from. I know there was someone from Canada, someone from Hawaii, someone from la, someone from the uk. Someone from the uk. Yeah. That was really impressive.

[Kevin]

Just goes to show, like the building says it is a global Phenomenon.

[Quincy]

But I don't know, it was really fun. It was cool to see all the fan energy. I think it set. It started the day off very well, on a good note. And then the Pink and Green performances commenced and it was so fun. We got to Kiki with the Glinda's before the Pink performances and the Elphabas before the Green performance. And it was just like a real. I was surprised at how just like comfortable the entire day felt. It felt like we were just running around doing our thing.

[Kevin]

Yeah.

[Quincy]

Having the time of our lives.

[Kevin]

Yeah. I mean, overall, for the Weeknd, that is the theme is that, like, it really felt like we kind of had the freedom to just like experience this weekend, not however we wanted, but, like, in a way that is exactly how we would have wanted to do it.

[Quincy]

Wicked really welcomed us with open arms. And for that, I am forever grateful.

[Kevin]

Changed for good. Well, one thing I just want to say about the Pink and Green performances is it was so nice to officially form a love affair with Jenniclair Mason.

[Quincy]

Yeah, you really clanked with that girly.

[Kevin]

I mean, I'm not saying that I love her and she loves me, but.

[Quincy]

Shout out to Kristen's assistant because that carpet was one packed. 2. Moving fast and furious.

[Kevin]

3. Running late.

[Quincy]

3. Running very late. And Kristin's assistant came up to us and said, I'm Kristin's assistant. I love the podcast. And made sure that Kevin got time to ask Kristen the question.

[Kevin]

Yeah, we said, can you get us one question? And he said, I'll make sure she gets here. And we were like, pretty close to the end of the press line too. And so we were like standing, waiting. And there was like. It would have been easy for her to be like, oh, good, I reached the end and like, turn and go inside when I tell you. I leapt over that velvet rope to make sure that I got to her. So I said, hi, I'm Kevin. I'm from Sentimental Men. Nice to meet you. When you look back on your Glinda, yada yada yada. And she gave what I also. A lot of people have been responding this way very. And also was shook. She said that she is definitely a thank goodness Glinda because it was the first song that she felt. No question about it. Because it was like the first song that she felt like he was really writing for her, which is so interesting.

[Quincy]

Which is a fabulous. That's fascinating. Yeah.

[Kevin]

I would have bet my bottom dollar that she was a popular Glinda.

[Quincy]

For sure. For sure. Yes. And a lot of People have been commenting. It's so interesting that both Idina and Kristen gave unexpected answers, and that also feels right. But, yeah, I would have done. I would have thought popular. No one mourns, and then thank goodness. But thank goodness does feel good.

[Kevin]

I would have thought popular. Well, and what's interesting, though, is, like, thank goodness is the most common answer we get from the girls.

[Quincy]

Yeah. Do you feel like the girls to say they're a popular Glinda feels too on the nose?

[Kevin]

I don't know. I don't think so. No more on the nose than saying I'm a defying gravity. Elphaba.

[Quincy]

Sure.

[Kevin]

They're all songs on the T shirts. Okay. Well, so it was so surreal, Quincy. I mean, you know, you met Idina, and you got to ask her the question, and it's just like, it happened, and you feel really, like, calm, cool, collected, chummy in the moment, and then it's over. And I was like, oh, my God. I just asked her the question, and she answered, and she said I looked handsome.

[Quincy]

You did.

[Kevin]

She touched my lapel, and she said, look how handsome you look. And I said, thank you.

[Quincy]

You know what was really special that I didn't realize was gonna feel so special was seeing Eden, Shoshana, and Julia kind of walk that carpet together and stick together as a tr. That was really, really cool to see.

[Kevin]

Yes, it was. So what's the word? We all like to think that they're all still besties and they're all in the group chat, and even if they're not like that for 350 days out of the year, to see them all together. And it was very summer camp reunion vibes.

[Quincy]

Just like, what a powerful trio. It was so cool.

[Kevin]

What a powerful trio. There's a video of. Of them seeing Kristen arrive on the carpet. I forget who posted it, but they all start screaming, and Kristen's like, ah.

[Kristin Chenoweth]

Yeah.

[Kevin]

And it's just like, it's very. To use the word that gets thrown around a lot. Like, it was very sorority energy of, like, totally these girlies, these sisters, like, running into each other for the first time in however long.

[Quincy]

It was crazy to see everyone on the hallowed grounds of the Gershwin theater at the same time.

[Kevin]

It wasn't surreal. Like, it's so surreal and, like, to see. And even just to see, like, Adina and Kristen walking the carpet together.

[Quincy]

Yeah.

[Kevin]

All of that. And posing in that. In the photo setup and, like. And Idina in pink and Kristen in green, like, what? It was just, like, it was just perfect the way that the, like, original Golden Girlies, Golden Age girlies, were presented to us on the red carpet. Had you ever sat in the front row before, like via the lottery or anything?

[Quincy]

I had sat in the front row before, but obviously this was a different and special experience because the energy in the room was so special.

[Kevin]

I had also sat in the front row through the lottery once, but it was like all the way house left, which is not to say, like, it wasn't a good seat, but it was a very different experience, like you said. And. Yeah, but it was so infectious to be that close to the stage and to be able to.

[Quincy]

Yeah. What moment was like, hit for you, being in the front row where you were like, Well, I gotta say, it was very fun to hear the off mic ad libs that were happening in, like, the ensemble and with the principal characters. Like, there's a moment where there were two that I'm remembering. The first was in Dancing Through Life, when Bach is dancing with Nessa Rose and, like, playing like little tricks with Nessa Rose. And there's a point where like bends to one shoulder and then jumps to the other shoulder and you hear Kimber, like, you got me. It was like, so funny. And then in March of the Witch Hunters, when the Tin Man. The Tin Man's like, I'm not the only one who has a score to settle with Elphaba. I don't know who it was, but there was an ensemble girly who goes, what, another Tin Man? More Tin Man? I was like, oh, they're having fun on this stage.

[Kevin]

I heard that too. Also obsessed with fellow sentimental Jeff Heimbrock. He was like, right in front of us and he was like, pounding the ramp with his cane, making the loudest banging noises I've ever heard.

[Quincy]

In rhythm.

[Kevin]

In rhythm. Which I.

[Quincy]

Jumping back to the press line, this just came up to me.

[Kevin]

Yeah, Yeah.

[Quincy]

I thought it was so funny when the press team handed us a face sheet and I was like, this is not necessary.

[Kevin]

Yeah. Oh, is that what Ann Brummell looks like? Got it. Thank you.

[Quincy]

Which, by the way, oh, my God.

[Kevin]

We met Ann Brummell.

[Quincy]

That's the highlight of my evening was meeting Ann Brummell. I don't know what it is. There's something about Ann Brummell that strikes a really strong hardcore with me. I fangirled over her. There were a lot of elf there. There were a lot of fancy people there that night. Ann Brummell was it for me.

[Kevin]

Yeah, I saw Ann Brummell on tour. In Pittsburgh when I was in college.

[Quincy]

Should we talk about Mackenzie Kurtz's popular?

[Kevin]

Yes, we should. Because I was gonna say what moment really hit for you being there, but I know that this is one that hit for both of us.

[Quincy]

Popular was. Well, Mackenzie was on her White Claw bullshit. Said in the most complimentary way possible.

[Kevin]

Yeah.

[Kristin Chenoweth]

If you love Broadway gossip, you are not gonna wanna miss any episode of this podcast, Singular Sensation, the triumph of Broadway. Plenty of dramas unfold on stage, but the best dramas unfold backstage. And there were no bigger dramas than behind the scenes of Sunset Boulevard. So you were being crucified over here, but not there? No, no, because I was turning in a performance that would get standing oceans. Excuse me. So check out my podcast, Singular Sensation, for all the juicy details of Sunset Boulevard.

[Quincy]

Her popular that night. Well, first of all, it's because the audience.

[Kevin]

Be clear, we're not implying she was drunk.

[Quincy]

No, White Claw energy.

[Kevin]

Yes.

[Quincy]

The audience energy was so crazy. My friend Ryan kept saying it felt like we were watching a. He was like, I imagine this is what straight men feel like when they watch a football game with all of their buddies. Cause it was. It was like Mackenzie comes down in the bubble. Audience goes crazy.

[Kevin]

Hoo, hoo, hoo, hoo, hoo, hoo, hoo.

[Quincy]

Like, yeah, every moment. Alyssa Fox during no good deed people. It was so that felt very reopening night, which was nice to experience that kind of.

[Kevin]

But even too, what I loved was that extended to the ensemble too, and like, the like, smaller moments that, like, wouldn't normally get a big applause. Like every dance break. It was like a huge cheer. Witch's father. Big cheer. Oh, my God. William Yuman getting.

[Quincy]

Oh, my God. Such a long.

[Kevin]

His entrance supplies.

[Quincy]

Yeah, that felt special.

[Kevin]

I teared up a little bit because it was just like, wow, dude.

[Quincy]

Yeah.

[Kevin]

It's 20 years later.

[Quincy]

Do you think Idina and Kristen were getting flashbacks hearing him sing something bad? Like, oh, my God. Yeah, probably. I kept being like, what is it like for this cast to be performing knowing that every Wicked alumni is in the audience? And what is it like for these Wicked alumni to be watching this cast do this?

[Kevin]

Yeah. Yeah. Such a cool energy with Dillamond. It was like, we talk a lot about the Elphabas and the Glindas and like, what it does to their performance. Like being in the room with the actual creative team and the original creative team. And I didn't ever think about how that would expand to seeing, like, other members of the original company. But see his Dilliman really hit Different, I was saying is it's like he has all of the information about it, and he has the funeral scene. Like, he got to. He has all the Dilliman stuff that got cut in there to work with. Yeah. So I thought it was really cool. Leading us to popular.

[Quincy]

It was so. Well, first of all, there was a moment. I mean, they kind of broke. They kept it together, but they broke. Which was funny.

[Kevin]

Yeah.

[Quincy]

And wish the audience was eating up. Oh. Cause it happened. Cause Mackenzie, when she was like, just wear the frock. It's pretty. Threw the wand back. And the wand kind of hit the gear. One of the gears inside of the proscenium. And then that, I think, was the straw that broke the camel's back. And they both had to take a moment to. To, like, stare at each other, which I think we were only able to clock. Cause we were so close. Yeah.

[Kevin]

But then it was like that SNL thing, though, where it was like, once we all realized that Alyssa and MacKenzie were laughing, then it was, like, uproarious.

[Quincy]

Yeah.

[Kevin]

Yeah. That was a really fun moment.

[Quincy]

I also feel like it was so nice. Cause to see it this close. I guess what struck me the most watching it this close was during the scene right before one short day where mackenzie is having. He's not even perfect anymore. Blah, blah, blah.

[Kevin]

Yeah.

[Quincy]

The two of them are really acting in a way that I think you.

[Kevin]

Forget you're so surprised.

[Quincy]

Well, because I think being this close, you could watch Wicked as like, a genuine show. Like a theatrical. A piece of theater. And sometimes I think when you're sitting far back, you see the. You watch it for the spectacle, and it becomes like, capital W, Wicked. I felt like being this close. I was watching, like, the small indie Wicked and getting to see the different choices that were happening and, like, the actual, like, for good. Oh, my God.

[Kevin]

No, don't talk to me about for good, Quincy. I would. Yeah. I mean, the whole night hit different, but, like, for good. It was like. And now, like, having the context of, like, them doing the last show of Frozen without knowing and, like, having that lack of closure. And now they're doing this huge, important thing together. And I. I feel like they held it together really well. Like, I don't think they were getting caught up in the 20th of it all until the end. They were almost like they kept the lid on it until just the right moment. And then you got to see them.

[Quincy]

And it was like, break down. You were really having a moment with MacKenzie when Alyssa was melting.

[Kevin]

Oh, like, watching her. Yeah. Well, first of all, I was just gagged. Cause the way the dress is splayed out in that moment is so beautiful. But there were a couple moments that happened, like, down on the. Those little cog.

[Quincy]

I'm not. That girl was beautiful.

[Kevin]

I'm not. That girl was beautiful. Mackenzie, during the wizard's chamber scene, during the flying monkey scene, getting to see her.

[Quincy]

Oh, that's when I was like, she's moments over there. Yeah.

[Kevin]

And, like, seeing how active she is in that scene, like, it's not just, like, she's not just watching the wizard and reacting. She's, like, trying to communicate with Alyssa across the stage. It's really like there was a point.

[Quincy]

Where Alyssa was having the realization that the wizard wasn't all that he's cracked up to be. And Mackenzie is like, whisper shouting across the stage to Alyssa, like, hey, Alfie, Alfie, calm down. It's gonna be okay. Like, just stay calm.

[Kevin]

Yeah. Yeah, that's.

[Quincy]

Wow. Wow, wow, wow. Front row.

[Kevin]

Front row, baby.

[Quincy]

Alyssa's no good deed was sensational. She, like, really came out.

[Kevin]

It was a victory laugh.

[Quincy]

Yeah. She was like, we are doing buckle up, girls.

[Kevin]

Buckle up. It was. And I mean, that was another one. Like, sitting that close and seeing, like, you're saying, seeing really, really, like, the acting performance that she's giving on top of these soaring vocals was so incredible.

[Quincy]

And the show ends. Stephen Schwartz comes out and gives a speech. Winnie Holzman comes out and gives a speech. Idina and Kristen come out and wave. It was just like, really? It was so special.

[Kevin]

I got so choked up watching Kristen and Idina hugging Mackenzie and Alyssa. That was really special. And then I was thinking about how Adina had seen Alyssa do it once before. And then I was like, wow. And then, however many years later, to have her see you do it, slash, to see her do it again. And then, like, Mackenzie, like, growing up and idolizing Kristin Chenoweth, I was just like, ugh.

[Quincy]

Yeah, it was a really cool night.

[Kevin]

It was really cool.

[Quincy]

Something tells me that, I mean, this has been the year of Wicked. I don't think that now because the anniversary performance has happened, that any of that will end. I still think. I think we're going to be living. I mean, you and I live in Wicked year round. But I think, like, even it's been so fun to see all of the, like, videos and photos that have come out of the anniversary night. Someone tweeted. Who was it? A listener tweeted, oh. Cause in the back of your Kristen video, Shanabe was just like, Owning that carpet. She has such an energy to her.

[Kevin]

She. Yeah, she hits different.

[Quincy]

So Shoshana Bean is in the background of the beginning of your Kristin video. And someone tweeted and Mother Bean in the back. Toss tossing. We're being fed so good. I never want this to end. And it's like, yeah. The content we are getting because of this anniversary, it's overwhelming. It really is overwhelming. I feel like a psychopath on social.

[Kevin]

I know. Me too. I feel like I need to go into hibernation.

[Quincy]

And these portrait. The broward.com portrait booth is so incredible.

[Kevin]

They really were so stunning.

[Quincy]

Ally Mazi was there. Laura Bell Bundy was there.

[Kevin]

Oh, you know what else was cool at curtain call is when they were like. And everybody who's here from the original company, stand up. And everybody.

[Quincy]

Well, that's the thing. They didn't give them the directive to stand up. So some people stood, some people didn't. And I wanted a moment to see truly everyone.

[Kevin]

Well, I think. Well, I guess most of them stood up. But what was cute was it wasn't like they were all sitting in a row together. So seeing them all look around and, like, see each other and point and wave, it was like, again, summer camp vibes.

[Quincy]

Yeah, it was really cool.

[Kevin]

As I could go on talking about it, I do think that it's time for us to get into our very extended Stuck on sjb.

[Quincy]

What an episode this is gonna be.

[Kevin]

What an episode. What an episode. If you don't know our guest today, her name is Stephanie J. Block, and she has a Tony Award, lots of Broadway credit, two national tours under her belt.

[Quincy]

We're talking with the Elphaba in our Wicked 20th anniversary episode. And it feels so right.

[Kevin]

It does feel really good.

[Quincy]

Let's check in with sjb. Stephanie J. Block is back with us again.

[Kevin]

I would say so.

[Kristin Chenoweth]

Hey, y'all. I feel like I am the third sentimental man.

[Kevin]

She's been busy.

[Quincy]

Awesome. So, so much has happened since the last time you were on the podcast with us. We thought it would be best to go chronologically because you have been booked and busy, Ms. Block.

[Kristin Chenoweth]

I guess so. I mean, it feels like the wheels are just turning, and I just keep putting one foot in front of the other. But, yes, when I look back at what's happened in the last year and a half, it's been a long. It's been a lot.

[Quincy]

And it was all happening in such close succession to each other, too.

[Kristin Chenoweth]

So strange, y'all, because when Covid hit and we decided to be kind of a smaller, quieter life in Northern California. We never closed off to the possibility of if something were to appear, to have that discussion and figure out what we needed as artists. Right. But did I see it all happening like this? No. No. So really it was a concert that was scheduled at the Kennedy center in February of 2021. And it was like the first time, it was called the 50th anniversary of Broadway at the Kennedy Center. And it was this star studded, you know, Gavin Creel, Andrew Reynolds, Betsy Wolf, Sierra Boggess. Just boom. Norm Lewis, boom, boom, boom, boom, boom, boom, boom. And we all got there and it was thrilling because I was coming from this quiet, beautiful life in Northern Cal and integrated with all of these artists whom I love as friends and as talent. And that whole night, I guess it was three nights of performances, but it was like one 11 o'clock number after another with these powerhouse talents, and we were all overwhelmed.

[Quincy]

My favorite kind of concert.

[Kristin Chenoweth]

Oh, it was that kind of concert. And I will say I looked at the artistic director, Jeffrey Finn, and totally got out of my lane and was like, is this what the people want? Do they really want to be? I was like, shouldn't there be more ballads going on or like a softer situation?

[Kevin]

And that duet maybe?

[Kristin Chenoweth]

No, this is. If there was a duet, it was going to be suddenly Seymour. If there was a duet, it was going to be something from Les Mis. That gave you all the angst and the ball. That's right. It was loud and it was powerful and the audiences were overwhelmed. And it was in that concert and getting to know Jeffrey Finn over at Kennedy Center. And I got a text message the next day and said, hey, what would you want to do here if I was programming our next season? And I said, in all honesty, I said, hey, I want to do Mame. It's been a long time, and I think we need that joy and that old fashioned goodness and just help transport people to another sort of buoyant place, you know? We need a little Christmas, Papa. We need a little Christmas. I get it. We couldn't get the rights to that. I'm not exactly sure what company or. Or what theatrical endeavor was doing it, but we couldn't get it. And he's like, what about what's next Ellipses? And I said, sunset Boulevard, question mark.

[Quincy]

That was truly your second choice. Wow.

[Kristin Chenoweth]

Yeah. And that one was a little less. I'll be honest with my knee jerk reaction. For Mame, it was for the people, of the people, by the people. I really just wanted to Spread goodness and joy and lighthearted theater for Sunset. All ego. That first initial, it really was. It was, I want to play this woman. I think I could bring what has happened to us in the last couple years and the isolation and my age and what. And who I might be at the end of COVID you know, because leaning into my 50s, I know I could sing the crap out of it. It really was ego knowing I was going to look different, not knowing how I was going to be welcomed back to the stage in these concert venues or shows, because I did put on the 15, 20 pounds. That's when Norma came into play. And that's when my ego stepped aside and I had a understanding of this woman that was personal to me, which was, you're different, your voice is different, you look different. And now what does that landscape look like for you as this woman, as this body image? And that came to me deciding. And this was the first time with Sunset Boulevard that I was able to choose the directing team, the design team. It was the first time. And when I met with different directors and had conversations I loved, they were all women. I wanted this voice and this point of view to be from that of a woman, or at least a person who identified as a woman. And I spoke with some heavy hitter directors, and all of them said, why are we doing this piece? And I hadn't found the answer, except for my own personal why, not the universal why. And then I met with Sammy, Sammy Kanald, and we had a zoom meeting much like this. And I just kept saying, you're so young. You're so young. And she. She goes, you understand that you're using ageism on me the same way that people would use ageism. And that was it. And I went, and you're hired. Because, yes, she allowed me to look at it in a different way, that I was inflicting on her the same thing that I was worried about others inflicting on me. Ageism, sexism, bodyism, all of that. Right? And that's when we came up with the idea of. Of the mental health card. We need to really. That's the universal why of telling this story. Our production was gonna say, if this was open for Discussion in the 30s, 40s and 50s, if there was medication that Norma could have been on, if we could even on set say, the way you're treating me is inappropriate. You cannot speak to me that way, then the conversation would look a little different, still keeping the drama, still keeping all the heightened theatrics of Norma. But you would a human being within that form. And then you'd also also go, you know what? Maybe there is something between Norma and Jo. I'm pulling for them. I actually, because Joe never calls her crazy. He calls her a character. That Norma's quite a character, right? And then I started to say, Jo, Jo, Jo. And I was like, ooh, this whole piece is from the POV of a young white CIS narrator. That feels a little icky to me in this day and age. So we tried to turn some of those things on its head that allows Norma's memory to come through that showed some. There was a memory play that was going on behind me as I was watching the movie, and it was about showing my weight and me just being silently abused by the studio heads and whatnot. And that informed a lot. And that my Norma still was smiling through it, still was hopeful through all that yuckiness, but also and still proud.

[Kevin]

Of the work she was doing.

[Kristin Chenoweth]

Yes, yes, yes. Which is.

[Quincy]

Right.

[Kristin Chenoweth]

Which honestly is what I was doing with Cher. So that was very personal to me. That was my secret. That that's what I was living through Cher. So that's how Sunset Boulevard came to be. And maybe that answer was way too effing long, but that's what that piece was to me. And I can't tell you how just 10 days of rehearsal and 10 performances have left an incredible, indelible mark on my sort of career journey because it was personal and meaningful. And the way audiences responded to this particular Norma was very interesting and very healing, and people were. They were loving her and feeling themselves in her. And I loved that. I love that.

[Gloria Estefan]

If you like this podcast you're listening to right now, then when it's over, you should also tune into the Theater Podcast with Alan Seals. That's me, Alan Seals. My podcast dives deep into the world of Broadway and beyond, and you get to hear from some of the biggest names in the industry, like Patti LuPone, James Monroe Iglehart, Ariana DeBose, Stephanie J. Block, and literally over 350 more equally amazing guests. I bring you exclusive interviews, behind the scenes insights, and captivating stories from the stars themselves. So whether you're a seasoned theater goer or just curious about the magic behind the curtain, the Theater Podcast with Alan Seals is your ultimate backstage pass. Subscribe now so you don't miss an episode.

[Quincy]

I think what was really interesting, watching it all happen is how much of a moment that production was at Kennedy Center. It felt like everyone in New York City was going down to D.C. that weekend that you Were doing this show.

[Kristin Chenoweth]

It's wild.

[Quincy]

It was really, really cool to see.

[Kristin Chenoweth]

Thank you. Yeah.

[Kevin]

Well, and I think it was one of, like we keep saying, like, coming out of COVID it felt like the first, like, really big. Like something Broadway's happening down at the Kennedy Center. And we got a. It was. Yeah, it was just like another bookmark in the return to getting back in the theater together.

[Kristin Chenoweth]

Oh, thank you. That's kind. I do feel like I get to bite into something new and in a different way. And I always, without trying, I still always try to put my mark on it. And that's never necessarily my intention. There's a big voice with Sunset. I called it Ego, but usually it is something in my gut that just goes, yeah. And that could be fear induced. That could be excitement, which they're so right. That feeling of excitement and fear are so tangible. They're the same. Or it's a, oh, this is important right now. Or, oh, I know the voice of this woman. But yeah, with Sunset, it started with the ego. I want to come back with this. I want to sing this score. And then the onion was peeled where I was like, oh, crap, I'm closer to this character than I ever envisioned it to be. I remember sitting on a couch and I was going over the lines with a pal, and she's like, I think you're gonna be good at this. I was like, oh, no. I think I could possibly be good at this role too. Which is never the case when I'm first just, you know, mining the thing. But somehow we aligned and I went, I know her, and I think she knows me.

[Quincy]

Yeah.

[Kristin Chenoweth]

Yeah.

[Kevin]

And so this all started. You said in 2021.

[Kristin Chenoweth]

I think so you guys may have to go back. But it was February. Well, maybe 2022. Is that right? You guys know?

[Kevin]

Yeah. Cause last time we talked to you was like, March 2020.

[Kristin Chenoweth]

Then it's gotta be 2022.

[Kevin]

Okay. But so still, you had a big chunk of time to prepare for this. It was the point that I was trying to make.

[Kristin Chenoweth]

I knew it was happening. Yeah.

[Kevin]

Yeah. So you got to really dig in.

[Kristin Chenoweth]

Yeah. And I did. I did well.

[Quincy]

And I think what sets your normal. Because Sunset is my favorite musical. Wicked floats above it all. And then my number one is Sunset.

[Kevin]

Oh, yeah. Do you know this? That for Quincy, it's sunset, and for me it's into the sun.

[Quincy]

So you really ticked our boxes.

[Kevin]

So if the three of us are not cosmically connected, I don't know what.

[Quincy]

But I think what sets your Norma apart Is there was such a layer of humor, like you're watching this character go through some dark things and exhibit some dark mental behaviors. But there was always still a layer of humor to it that I think allowed audiences to key into your character easier and relate with you and feel for you.

[Kevin]

But the mental health was never the punchline, right? No, it was never making fun of her.

[Kristin Chenoweth]

But do you not feel that the universal way to cope is humor?

[Quincy]

We just have our balance.

[Kristin Chenoweth]

That's the deflection of all things. And so I would suspect that even back in the 30s, 40s, and 50s, with this ecosphere of just yuck and all about your look and sexualizing women in such a way that you have to build the armor of humor. First is deflection, and then you start building this thicker skin that allows you to speak your truth and still stake your claim in this egosphere, but without going too far to offend the studio head or whatever. But, yes, for me, humor is the way to be comfortable in any sort of uncomfortable situation. And once you develop that tool, that skill set, it comes out all the time. It comes out all the time to say, I feel comfortable, but maybe I don't, but here's a joke. And now you feel comfortable, which allows me to feel more comfortable. So I wanted to make sure that that really was present. It is on the page for me. I looked at that page, and I was like, yeah, she uses this as a tool and a weapon. She's funny to even think, not being, you know, out of her mind, but to think that there's even a glimmer that she could have a relationship with Joe. It's gotta be based in far more than just look and notoriety. They've got to understand each other on some sort of level. And humor, I think, is a great equalizer in any, you know, in any room.

[Quincy]

What was it like working with Sammy as a director? Because she is everywhere.

[Kristin Chenoweth]

Yeah, she is everywhere. She's very smart, she's very well prepared. She's collaborative. If she doesn't have something figured out, which in rehearsal processes like this, where you only have 10 days, you kind of do have to have a game plan. And as a Virgo and a mom, and I like that. I like that. Give me a perimeter and then allow me to play. And then if that perimeter change shape, if you can go along with me on that, I think we all can create something great. And that's exactly what she did. She kind of came in with this wonderful. All the puzzle pieces real close together so we could see what it was going to create, but she still allowed us to put it together ourselves. And then there were moments where she was like, I don't know what this scene looks like. I do know we need this character. This character, this character. I know we need these people to bring on these sets for the next bit, but I don't know what it looks like. So let's go. And that takes, to me a lot of bravery and courage, because, again, that time is always ticking. And so if you can still breathe into the space and into the process, then you've got someone who's confident in what they're doing and confident in their team as a whole. And then you all start lifting up to make this thing happen. And that's what she brings to a room. And I loved it. I loved it.

[Kevin]

Wow. My next question is, you have this however long chunk, and you're like, norma, Norma, Norma. And then the baker's wife comes into the picture.

[Kristin Chenoweth]

Yep. Rando. What and how rando. Well, rando. And yet not. So, as you guys know, I have a podcast called Stages Podcast that you sure do.

[Kevin]

And we were just on it. So hopefully everyone listening to this just listened to it.

[Kristin Chenoweth]

It really is wonderful. And the conversations take place much like this. It's very organic, but we get some great artists and healers on there.

[Quincy]

And so it goes to deep places, too. I was surprised.

[Kristin Chenoweth]

It does. And how lucky are we that people are comfortable enough like you guys do, that you allow me to feel comfortable enough to open up? And we've been lucky enough to share that experience as well. At the end of every conversation, Mary Lee, my co host and co producer, we have a thing that's called what Struck a Chord with Me. And so we were kind of updating. She had just seen into the woods on Broadway. She was floored. And I led into the conversation with, you know, this was only supposed to be a small stint at City Center. It's now on Broadway. It's been extended again. Sara Bareilles has got to be busy at some point. I mean, come on, people. And I mean, so I put that out into the airwaves, into the ether. Not expecting much, but, you know, hello, and I'm great friends with James Lapine. I have been intimate with this material not professionally, but in my own little world since I was 16. And this one didn't come from ego. This came from. I've lived this life. I know what it's like to journey and go through painstaking everything to have a child. I know the baker's wife.

[Quincy]

How did you. Because I think you were one who could go witch or baker's wife.

[Kristin Chenoweth]

Isn't that interesting? A lot of people, Wesley Taylor, Joss Lyman, a lot of people saw me after the show and we're like, girl, all I thought of you was you were going to be the witch. That's. That's how we hear your voice. And it was nice to surprise, to go, oh, no, there's this whole other little bit of me that is. Could be more mixy, could be more silly. And not always, you know, full balls out and powerful. You know, I've done the witch before you all. I've done it. So we were on this cruise with Seth Radetsky called Seth's Big Fat Broadway Vacations. We were in Norway and my phone rings and I'm like, tim Marshall, that's my agent. I was like, why is he calling me in Norway? We were literally.

[Kevin]

It's gotta be big.

[Kristin Chenoweth]

Yeah, we were on a thing called the Trail of the Trolls for Vivi, you know, cause of Frozen for the land of Frozen. And I just picked up the phone, he's like, okay, crazy. And, and I know this is costing a fortune, but could you. Or would you wanna come and replace Sara Bareilles into the woods as a baker's wife? I was like. And I looked at Seb and he's like, he's lipping like, what's going on? And in the same breath I said, is Brian D'Arcy James there the whole time too?

[Quincy]

I was gonna ask how that happened.

[Kristin Chenoweth]

And he's like, wait, what? And I was like, do you think if Seb and I were going together, then this is an absolute no brainer. If it's. Then it's a different discussion about it's who. That's right up there.

[Quincy]

Logistically, I'm assuming family to do things together.

[Kristin Chenoweth]

Yeah.

[Quincy]

Okay.

[Kristin Chenoweth]

Yeah. At least moving back cross country and taking Vivi out of her school and re registering her in a different school. I mean, this is a thing, you know? Cause at that point, back end just.

[Quincy]

To do a job.

[Kristin Chenoweth]

I know, but that's when you go, is this just a job or is this truly like one of your dream roles for the last 30 years of. Of your life? And that is what it was. And that's what we kept telling Vivi through all of the messiness of the movie. We're like, baby girl, this isn't a job. You are helping us fulfill a dream and we will always do that for you. That's what we do as a Family. We fulfill each other's dreams, you know.

[Kevin]

Oh, I love that.

[Kristin Chenoweth]

So Tim called back and he's like, guess what, Brian D'Arcy James is filming a movie and there are eight weeks where he's not gonna be doing the show. You literally would be starting on the same day rehearsal and the Broadway, you know, going in performance. Yes, yes, September 6th. And I was like, okay, there's divinity now coming into play. Because this doesn't happen, y'all, for me to have the guts to ask in the same breath of me being offered for it to all time out in such a way that no one is. Nothing's being taken away from anything. Brian's off to do something amazing. Sarah's off to do something amazing. It just really felt kind of divine. And so that was a big. And then I did think about.

[Quincy]

Gulp.

[Kristin Chenoweth]

Well, what happens with Sunset? Well, it just happened that within that time frame of being on Broadway, we were going to close in January. I was going to have one week off to kind of breathe and reset and then go immediately to the Kennedy center and do Sunset. Then the tour came. Then the damn Broadway tour came. And sorry, it's not a tour. It was a special engagement in major market cities. We're not allowed to talk about what tour. Truly, Literally our text thread on our phones for the cast of into the woods that did go out on the road. It's called we are not a Tour.

[Quincy]

We did call it. When the tourneys came out, we were like, look at that. Hitting the major markets.

[Kristin Chenoweth]

Yeah, Special engagement, major market cities. And that for some reason, again, timed out in such a way that I could do Sunset. I'd have two days off and then I'd rehearse in New York for three days and go right back to the Kennedy Center. About two weeks later, after doing Norma.

[Quincy]

Was taking the tour a no brainer?

[Kristin Chenoweth]

No, it was a big brain.

[Quincy]

No, not a tour.

[Kristin Chenoweth]

Yeah, no, right. The major market city special engagement. When it came to us, the offer was any in all cities. And so Sebastian and I said, thank you so much. We would love to do Los Angeles, because that would be five weeks, me going home during the summer. So again, we wouldn't have to interrupt Vivian, you know, school year. And then that all sort of changed. That offer kept shifting depending on who was saying yes, who was not accepting the offer for the other cities. Because Los Angeles is kind of the crown jewel, right? The Kennedy center and then the Ahmanson. Those bookends were really important. And so we had to have another family discussion which at the time we were like, how do we do this? When you think of all the moving, it seems impossible. But when you have a partner like Sebastian, I have an awesome friend named Alison Arns. We had a nanny, Peyton, who went on the road with us. And we just had a support group that was like, look, do it. Y'all haven't worked for the two years it's been closed. These are parts that off. They resonate with you in a way again, that the chemistry between he and I, the storytelling between him and I, we knew that this hadn't happened since 2007 when we did Wicked. So looking however many years now, 17 years later or whatever it is to do that again. But we learned along the way that that was probably it. Now that we have a child, the two of us, even though the magic was hardcore for three hours in the black box doing Sondheim and Lepine and these two roles that we had fallen.

[Quincy]

Magic. You're playing that story out with your real life husband when you have a child.

[Kristin Chenoweth]

Come on. It was emotional and beautiful and we both. Throughout the day, what I loved, everybody would say, oh, the chemistry, the chemistry. But I think it came with. We knew what each other's day looked like. We knew where our weaknesses were throughout the day or who had the strong, the strength to carry the other one that day who may have been vocally weak. So the other one was going to go to bat. You know, it just was this beautiful ebb and flow between two of us. But Vivi expressed, I miss you guys a lot and I'm only with you one night out of the week. She didn't really understand what that was going to be, nor did we. And now that we do, we've made the pact that that was it. Until she's at a certain age where she doesn't. And I don't know how long that will be. But in quotes, she doesn't need us for dinnertime, bath time, bedtime.

[Quincy]

She doesn't care where you are.

[Kristin Chenoweth]

No. And even though we spent literally 10 hours a day because she would wake up at 6, 6:30, we'd homeschool from 9 until about noon. Then we would do practical learning.

[Kevin]

How is that?

[Kristin Chenoweth]

I honor teachers in a way that I can't express. I can't express just because how they understand what each little person needs to get them crossing the finish line and giving them confidence in learning things. And it's a real delicate dance and. And so, teachers, I adore you. And then we would go out and do practical learning. Because these cities would allow us to do some really cool things, you know, dc, Boston, Philly, Nashville. It was all this real cool stuff.

[Kevin]

And things that maybe you, as adults would not have done if you didn't have. Yeah, yeah, Kevin.

[Kristin Chenoweth]

We would have been like, oh, I am too tired. I know the bell has a crack in it. I know it's supes important. I know they signed the thing and the thing, but I just can't. But there was no I just can't. This was our duty during the day.

[Quincy]

And that actually feels like a really cool era that Vivi will probably look back on as, like, wow, that was cool that we did so much.

[Kristin Chenoweth]

She will. And her little journal entries with the deep feelings, but the misspelling and who she wanted to be. Like, she changed the course of who she wanted to be throughout this entire tour. She wanted to be a dresser, then she wanted to. We took her to the aerospace Museum, and then she was really interested in not being a pilot, but maybe going to the moon. And so it just opened up a whole different thought process for her. That was really beautiful. And then throughout that, I was recording my Christmas album. So in Nashville and la, I was, you know, meeting with musicians and putting down some tracks for them and laying down some vocals, which then I'd go to California and be like, oh, I was tired that day. Can we rerecord? Or. This didn't turn out right. Can we get the drummer back in and, you know, lay down something different? So, yeah, there were a lot of balls in the air that year.

[Quincy]

So how did the Christmas album. What was the impetus behind it?

[Kristin Chenoweth]

The impetus was I'd wanted to do a Christmas song.

[Kevin]

What made you said, I want to add something.

[Kristin Chenoweth]

Right. I play look full enough. I've wanted you to do a Christmas album for years. I was slated to complete the album, I think, like, two Christmases ago, because I put out a single of A Holy Night, which then with those musicians and those producers, we were gonna move forward. Well, life took over. Somebody got married, somebody had a baby. There was a whole lot of life. And I thought, look, I'm not gonna pressure anybody. I'm not gonna. It's Christmas, for God's sakes. Who wants to do this under. You know what I mean? Under pressure and timelines that are impossible. Forget it. So then Club 44, which is a record producer, they came forward, had been working with some other Broadway folk, and a dear friend of mine, Jim Caruso, said, I did my Christmas album with them and some cast party stuff, and they're really, really forthright and legit guys. And so we started to talk about what I wanted it to look like. And we made it. It happened.

[Quincy]

Hard copy.

[Kristin Chenoweth]

Hard copies. I know. Who has a CD player anymore? But they're so cheap online. And she's like a six, you know, she's a sixer.

[Quincy]

Wait, read us the tracklist.

[Kristin Chenoweth]

Okay. Okay.

[Kevin]

Stephanie, do you know Merry Christmas, Darling is my favorite Christmas song?

[Kristin Chenoweth]

Me too.

[Kevin]

Me too.

[Kristin Chenoweth]

I just got chills. So I grew up with why you're such a different guy with the Carpenters, honey. Okay, here are the lighter notes. But you still have to buy the album, even though I'm reading you the line. Okay, now which do I need here? My deep love of Christmas music began as a child with the warm hum and crackle of the Carpenter's Christmas Portrait, Johnny Mathis Merry Christmas lp and Barbra Streisand's A Christmas Album. I hear selections from these artists and I am immediately transported to my youth. I close my eyes, I am 6, I am 14, I am 20. And then the whole. You gotta buy the album to get more. But. So that was like. That was one of the cornerstones of what this album was going to be. And I didn't want to futz with it. Of course, it will be my own interpretation. But I was like, we are not going to reimagine Karen Carpenter's not broken. Hello. She is. If they made the saint candles, you know, like they do with Cher and they need a Karen Carpenter, I'm sure that exists. I was Etsy. Who's ever on Etsy making those calendars. You get a Karen Carpenter, they will fly off the shelves. Okay, here's the. Here's the track list. One is Sleigh Ride. The second one is called and Snow. And it's a quirky little tune from the point of view of Mrs. Claus. Three, the coveted third spot, Merry Christmas, Darling. Four. Little Drummer Girl, featuring Vivian Arcellis.

[Quincy]

Stop.

[Kristin Chenoweth]

And a kick ass female drummer. I just wanted to be female. Empowerment. I know. Mary doesn't want those drums anyway. She's giving birth. Who the hell wants drums while you're giving birth? But there you have it. 5. Track 5 was my first attempt of arranging, so I arranged this. And it's a mashup of Count your Blessings instead of sheep and favorite things. Oh, nice Kind of musical theater purist, that track 6 is have yourself a Merry Little Christmas. I sound a little smokey. Jazzy. So track seven, when youn Hold Me in youn Arms. It's Christmas Features Sebastian Arcelis and written by David Zippol, who wrote Remember what you don't know. What's that musical?

[Quincy]

City of Angels.

[Kevin]

City of Angels.

[Kristin Chenoweth]

City of Angels. Yes, yes, yes. That's crazy. I've auditioned with that song. Sorry, David. And one of my producers, Wayne Hahn. And then track eight, a new tune, Winter White, Beautiful Second Prayer. And then following that, O Holy night. Then track 10 is Manhattan in December, which is an Anne Hampton Calloway jazzy situation. You'll love it. If you're living in New York, you'll love it. If you love New York, you'll love it. And then 11 what child is this? Which is really dark and haunting. I love. And then 12 is musical theater again at its finest. And it's called God Bless My Family again written by Anne Hampton Calloway. And if you've not heard the song in her voice, I encourage you to listen to it with her and Liz Calloway singing together. And then you get a new version on my album. So there you go. She's a full thing with 12 tracks.

[Quincy]

She is available to stream now.

[Kristin Chenoweth]

She is.

[Kevin]

And also to buy online. Buy a hard copy online.

[Kristin Chenoweth]

Yeah. And then we're kind of taking a poll to see if vinyl is still a thing and if people would really want vinyl.

[Quincy]

I think vinyl is very much a thing now.

[Kevin]

I want vinyl.

[Kristin Chenoweth]

Then I think we would look into, you know, printing. So let us know, people, that vinyl is very much your thing.

[Quincy]

If we can get a signed copy from you, we should do a giveaway on our social channels. That'll be fun to line up with this.

[Kristin Chenoweth]

Yeah, just give me your mailing address. And there are. Now, do you want the quirky ones where the printer's messed up and track eight is track 83 or. And those are limited.

[Quincy]

Limited edition.

[Kristin Chenoweth]

Guys, guys, I don't know if you can see. Look at track 8. Track 8, 83.

[Quincy]

Go up a little.

[Kristin Chenoweth]

7. 83, 9, 9.

[Quincy]

I think our listeners would love it.

[Kristin Chenoweth]

Okay, you get the cork.

[Kevin]

Limited edition.

[Kristin Chenoweth]

You got it. You got it.

[Quincy]

All right. Amazing.

[Kevin]

Can't get this on the online store.

[Kristin Chenoweth]

No, you can't.

[Quincy]

Okay, wait, Stephanie, before we wrap. We just did it.

[Kristin Chenoweth]

Is that time already?

[Quincy]

Yeah. Okay, an hour. All right. We just did a Comic Con panel that Susan Hilfordy was on about Wicked.

[Kevin]

Oh, wait. Can I ask a question first before we. We move on to. Okay, so it's a two parter question. Number one, did you and Sebastian ever. Slash. Always want to play these roles together? And two, is there another show that you guys Want.

[Kristin Chenoweth]

Yes, we did. We have. It was that. And then it was Tata and Mother in Ragtime, which I think I'm just a little. I'm a little old now, and, you know, it's not gonna work. It's not gonna work. Maybe in a concert of some kind, but vocally, that is such a beautiful story. And the way our voices blend, it feels healing to me when we see. Sing that score. That's one of my top five musicals.

[Kevin]

Our children, right, is the song they sing together.

[Kristin Chenoweth]

Oh, yes. Watch them play. Come on now.

[Kevin]

I know children run so fast.

[Kristin Chenoweth]

Toward the future. From the past.

[Kevin]

From the past.

[Kristin Chenoweth]

That's right. That's right. But no. Have we ever thought of another piece? I think there might be plays that we could look at, like God of Carnage or something like that, which would be great. Or a limited run. But again, if Vivi is still at this tender age and is wanting to spend the time with us and share her day at nighttime, we just can't do it.

[Quincy]

Wait, because. Are you still California based?

[Kristin Chenoweth]

We are.

[Quincy]

How do you know? Navigate the back and forth.

[Kristin Chenoweth]

Right? That's a good question.

[Quincy]

Are you actively prospecting jobs in New York or is it if something comes your way and it's good enough?

[Kristin Chenoweth]

That's right. Well, I wouldn't even say if it's good enough. I mean, just. I'm open. And so there have been a couple calls. There was, you know, interest in avail in this new cabaret that's coming in for Frau Fill in the Blank. And then there was. There's a one woman show that was being discussed at the really early stages. And it's an interesting project, but sadly, that one didn't Time out. So I think every artist can look at this conversation and say, yeah, it's just assessing, reassessing, assessing, reassessing. And there's no blanket statement of, we live in California, therefore we're closing off all options to Broadway. It just takes something like, hey, would you guys play the baker and the baker's wife into the woods. And then you go, okay, how do we make this work? I know we can do it. Because, you know, like I said, the support system is strong, our partnership is strong, and we are constantly communicating with one another. But it has to, for our litmus test is three things. Is it too artful? You can't say no. Is it too joyous? You can't say no. Or is it too lucrative? You can't say no. And if it's two out of those three things. Things, then we will actively move forward to make it happen.

[Quincy]

You know, it's just very fascinating because you hear that the life of actors is constantly, like, in a state of, how are we making things work? And I don't know what's happening tomorrow? And it is very fascinating at any point in actuality.

[Kristin Chenoweth]

It really is an actuality. And I, you know, I'd be remiss if I wasn't honest that one of the reasons we're living here was that it affords us to have those conversations. We were finding that especially during and after Covid, our financial situation looked really different. You know, Sebastian wasn't on a television series, Broadway wasn't happening, concerts weren't happening. So our income flow was, you guys know, was completely shut off. And so I looked at him and I said, babe, in truth, if this doesn't come back, if our industry doesn't come back in a year, we can't pretend to afford this life that we've created with the understanding that these paychecks and were coming and bills were going to be paid. And that's why we landed here, because we could kind of pay off our life and put our heads on our pillow without freaking the f out as to how we were going to pay bills. And doing so now allows us to say yes to some things that if we were panicked as to how to pay the bills, we wouldn't have that freedom. So it's a give and take, but it certainly was thought out. And it may look bold and strange and how are they doing it, but the only reason we're able to do it is because we made this big, bold, strange move.

[Quincy]

No, I think it's impressive. I think it's very impressive that you're able to do it all.

[Kevin]

Yeah, very. Jump in the net will appear.

[Kristin Chenoweth]

That's kind of right.

[Kevin]

Yeah, yeah, yeah.

[Kristin Chenoweth]

I do believe.

[Kevin]

Can I plant an idea for you and Sebastian?

[Kristin Chenoweth]

Yes.

[Kevin]

And I think Vivi will be. I think she'll be old enough by the time this is cooked.

[Kristin Chenoweth]

So she's Annie, he's Daddy Warbucks, and I'm Liz Hannigan.

[Kevin]

I feel hello, Dolly in my phones with the two of you. Really would be. Ugh.

[Quincy]

I feel like that you're his dream Dolly, Levi.

[Kevin]

You are. I can't wait for when the time is right.

[Kristin Chenoweth]

How do we make that happen?

[Quincy]

It'll happen.

[Kevin]

I don't know. We've got 12 years to figure it out.

[Kristin Chenoweth]

You're right. We do. We can.

[Kevin]

We've got time.

[Kristin Chenoweth]

Yeah. Well, Bette and. And Donna and they all made such an impression that. Yeah, I guess we do need that kind of stopgap for people to breathe. Yeah, yeah, yeah, for sure, for sure. But yeah, I could do something interesting and SJB with that. For sure.

[Quincy]

And that's Mame adjacent too. It gives the same vibe.

[Kevin]

He would be. So.

[Kristin Chenoweth]

He'd fucking break your. Oh, you have to bleep that out. But he'd break your heart. Weren't you now, I think it's just because he had done so much TV in the industry. Interim and you know, before it was Elf, which is not really organically what he brings to the stage. And then Jersey. But weren't you touched by his performance?

[Quincy]

Oh, Stephanie, I'm in love with your husband. Like he.

[Kristin Chenoweth]

Yeah, let's get that clear.

[Quincy]

Yeah, like him on stage is everything.

[Kevin]

No, literally at intermission, Quincy and I turned to each other and we're like. We both are in love with him. Right. Like everybody in the theater. You can't help it.

[Kristin Chenoweth]

In love he is. And that he bears his soul. And so what you're falling in love with is the true Sebastian. There's no artifice there. He's just a love that's so special. Oh my God.

[Kevin]

Everyone can do that.

[Kristin Chenoweth]

I know, I know, I know.

[Quincy]

Susan Hilfordy, first of all, she's incredible. We want to have her on for a full length. She was like, you can come to the Wicked warehouse. We'll set up cameras and I'll just talk to you guys.

[Kevin]

We like, pick a day.

[Kristin Chenoweth]

That's your dream.

[Kevin]

I will rearrange my life.

[Kristin Chenoweth]

It's your dream.

[Quincy]

But she mentioned two things. The first one, I'm forgetting, Kevin. The first one was the big set of costumes that she dumped. Oh, and the Dr. Dilliman Fury.

[Kristin Chenoweth]

Dr. Dilliman's. Yes.

[Quincy]

Can you paint that picture for us? Just cause you were there?

[Kristin Chenoweth]

Sure. Yeah. I'm not exactly sure after what scene it was. It might have been the cub scene. Right. And then we're all. This atrocious act happened. There was a glass casket in the middle of the. We were all dressed in black. We would put roses on his casket.

[Quincy]

And there was there a Dilliman actor in the casket.

[Kristin Chenoweth]

I think it might have been a Dillamond. Like a dummy. Yeah, exactly. The mask, perhaps, and then the body. But that was a real poignant moment. But it just was not needed.

[Quincy]

Right.

[Kristin Chenoweth]

Once you heard that he was. Gosh, how. How do I not remember that? I'm not sure. I'm not sure. Definitely underscoring, because I can feel like the Somber. And the reverberations on my feet standing on stage. And then, yes, we did. I don't even know if it was called dancing. I think it was still, which way is the party? Maybe right. Which way is the way to Winky Beer? And we were all in these vibrant, jewel toned costumes when we went to the dance. And I remember I had kind of this Lucille Ball look where there was a tangerine orange pant with a skirt over it and then this really cool blazer, but it had a third sleeve on my back. And everybody had these wild costumes.

[Kevin]

Extra.

[Kristin Chenoweth]

That's right. And so when we were doing the choreography, Wayne Cilenta was like, what is happening? I cannot see my choreography. There's three arms, two legs, 17 this, that, and the other. And so join stopped tech. Joe Mantello stopped tech and said, everybody line up. And she said. He said, move forward. You take that off you. Take that off you. We can keep yours. No, no, no. And by the end of it, there really was a pile of color and material probably at the tune of a quarter of a million dollars. I mean, and that was that. And that's how everything was more streamlined and all black and white for the dance, because the choreography was completely getting.

[Kevin]

Lost in the song about dancing.

[Kristin Chenoweth]

That's right. That's right. But that was a moment that. That does feel like something that would be in, like a book by Michael Bennett or Joe Papp book or something where in that moment where costumes were just being taken off and thrown in a pile and we're just kind of standing there going, what's. What's next? Like, how do we move from here?

[Quincy]

Yeah.

[Kristin Chenoweth]

Yeah.

[Quincy]

Wow. All right. Well, thank you.

[Kristin Chenoweth]

Da da da da da da.

[Kevin]

The lore continues.

[Kristin Chenoweth]

It does. I got my facts and figures may not always be right because my memory is so based on senses more than.

[Quincy]

I mean, this whole endeavor is like an oral history. Who knows?

[Kristin Chenoweth]

Exactly. Right. And it changes with every telling. And it's more dramatic or more. Less dramatic with every telling. Yeah. But Seth Radetsky asked me just two weeks ago. He's like, what was your opening solo line in the open? I was like, oh, God, I don't know. But I was the one with the hair that looked like horns, and I wore the burgundy costume. And he knew what solo it was just based on the costume. But I couldn't for the life of me remember what the heck I sang.

[Quincy]

Oh, my goodness. We'll have like a six month check in, I'm sure, with you again, Look, I'm a veil.

[Kristin Chenoweth]

Yeah. I'm a veil.

[Quincy]

Awesome.

[Kristin Chenoweth]

I adore you both. I'm gonna start looking at the Dolly score. Take care.

[Kevin]

You've been listening to Sentimental Men from Theaterly.

[Quincy]

This episode was produced by Quincy Brown, Kevin Bianchi, and the team at Theaterly.

[Kevin]

Thanks to Anthony Abatangelo, the most swankified podcast editor in town.

[Quincy]

And another thanks to Michaela Reynolds for making us look downright osmopolitan in our new key art. And to Julia DeMarzo for our logo design.

[Kevin]

If you want to get in touch, send us an email. We love to hear from you all. You can reach [e-mail] that's T H.

[Quincy]

E A T R E L y.

[Kevin]

You can also connect with us across social media on Instagram, Twitter and TikTok. Entmenpod.

[Quincy]

Thanks for tuning in. Till next time, I'm Quincy.

[Kevin]

And I'm Kevin.

[Quincy]

Is my morning voice as bad as your morning voice?

[Kevin]

No, mine's awful right now. God, I was just gonna say, like, my apologies to everybody for this voice. It's okay. It'll be warm in two minutes.

[Patti LuPone]

I don't know about you, but I personally feel like the world could use a lot more kindness right now. Hi, it's Robert Peter Paul, your friendly neighborhood bpn, host of the Art of Kindness, a podcast that spotlights people in the arts who make the world, well, you guessed it, kinder. From icons like Carol Burnett. I blacked out. To Tony winners like Stephanie J. Block to Olympians like Lori Hernandez, we've featured so many wonderful guests from all corners of the biz to give you intimate conversation and kindness tips. I'm thrilled to say we're returning for a fourth season.

[Kevin]

Woop woop.

[Patti LuPone]

This World Kindness Week with guests like Ian Armitage, Judith Light, Betty who, Corbin Blue, and more. So please join our kindness community over at VPN fmak. And I do hope you're doing as a okay as you can. Let's build a kinder world.

[Kristin Chenoweth]

Aw.

[Patti LuPone]

Audio hug.