The New Yorker Radio Hour: Audra McDonald on Stephen Sondheim, “Gypsy,” and Being Black on Broadway

Podcast Information:

• Title: The New Yorker Radio Hour
• Host/Author: WNYC Studios and The New Yorker
• Description: Profiles, storytelling, and insightful conversations, hosted by David Remnick.
• Episode: Audra McDonald on Stephen Sondheim, “Gypsy,” and Being Black on Broadway
• Release Date: December 9, 2024

Introduction

In this compelling episode of The New Yorker Radio Hour, celebrated actress and singer Audra McDonald joins staff writer Michael Schulman for an in-depth conversation about her role in the Broadway revival of Stephen Sondheim’s "Gypsy." The episode delves into McDonald's preparation for the role, the significance of casting a Black woman as Rose, and the broader implications for diversity on Broadway.

Preparing for "Gypsy"

Rehearsal Process: McDonald discusses the intense rehearsal schedule leading up to her performance. At the four-week mark, her days are filled with working on key numbers from the musical, such as "Everything's Coming Up Roses" and "Rose’s Turn."

“We started the day working on Everything's Coming Up Roses and then after lunch we did Rose's Turn. So that's how my day's gone today. I think it's pain. Some people can't even give it away. These people's got it. And this becomes.”
— Audra McDonald [02:33]

Personal Connection: Audra shares her long-standing connection with "Gypsy," from her early days in dinner theater to her deep admiration for Sondheim's work. Her passion for the role stems from both a personal love for the musical and a desire to bring a new dimension to Rose as a Black character.

Casting a Black Rose

Origin of the Idea: The concept to cast a Black woman as Rose in "Gypsy" was inspired during a Thanksgiving dinner with the late Gavin Creel, a close friend.

“You need to play Rose in Gypsy. You got to do it. Can you imagine a black woman? It has to be you. You got to do it. You got to do it.”
— Gavin Creel [04:11]

Stephen Sondheim’s Support: McDonald recounts her discussions with Stephen Sondheim, who was highly supportive of the innovative casting choice.

“When it was brought up to him, he thought it was a great idea. And he said, I think that's terrific. And actually there was another show of his too... whichever one you want to do first, that's fine with me.”
— Audra McDonald [04:50]

Navigating Criticism: The episode addresses the backlash sparked by John McWhorter’s New York Times op-ed, which questioned the historical accuracy and implications of casting a Black woman as Rose. McDonald emphasizes the artistic vision behind the adaptation.

“It's a musical fable. That's all I got. I have a lot more, but that's all I'll say. It's a musical fable... some of them actually hit in a different way, really. When you think about some of the lines coming out of a black woman, they hit in a different way.”
— Audra McDonald [07:54]

Building a Backstory

Character Development: Schulman inquires about how McDonald approaches Rose's backstory, given that much of her life precedes the timeline of the musical. McDonald explains her method of integrating historical context and personal creativity without altering Sondheim’s original lines.

“I start with that as source material. You have to. And then I sort of build in. Okay, she can still be from Seattle... there's enough actual history that I can then use based on Rose's life and what I know about life for black people at that time as well, and bring that into the story, too.”
— Audra McDonald [06:21]

Audra McDonald’s Career and Inspirations

Early Beginnings: McDonald reflects on her early aspirations and experiences in Fresno, where she first immersed herself in theater. Her parents played a pivotal role in nurturing her talent and instilling pride in her heritage.

“It was guided primarily as a means of sort of like, to be therapy for me because I was hyperactive child who was having a lot of problems in school... my parents thought that I liked to sing. And they had gone to see a show at this dinner theater and said, why don't you go and audition for that? And that lit me up.”
— Audra McDonald [16:46]

Overcoming Challenges: McDonald discusses her time at Juilliard, highlighting the challenges she faced when her strong vocal skills led her to a classical focus, diverging from her acting aspirations. Despite these hurdles, her persistence paid off with breakthrough roles like "Carousel."

“I was stuck. I was watching them do this and I wasn't. And here I was in New York at Juilliard. My address was literally Broadway. And I had never felt so far away from my goal, which was Broadway. So I left school.”
— Audra McDonald [10:42]

Balancing Motherhood and Career

Personal Reflections: McDonald opens up about her experiences as a mother of two girls and two stepsons, navigating the demands of a career in performing arts while maintaining family life.

“I have that mom that is sometimes off, not necessarily leading what I call the glamorous life. For me, my life gets glamorous when I get to be home with my family.”
— Audra McDonald [20:41]

Therapeutic Song Choice: She explains why the song "The Glamorous Life" resonates deeply with her personal experiences and fears about balancing her professional and personal responsibilities.

“I sing that song as therapy for my fears, I guess.”
— Audra McDonald [20:06]

Legacy and Impact

Mentorship and Influence: Reflecting on her relationship with Sondheim and her role in "Gypsy," McDonald emphasizes the importance of mentorship and the responsibility of portraying complex characters that resonate with diverse audiences.

“What do you leave to your child when you're dead? Only whatever you put in its head. Things that your father and mother had said which were left to them too.”
— Audra McDonald [22:57]

Conclusion

Audra McDonald’s portrayal of Rose in "Gypsy" represents a bold and transformative moment in Broadway's history, challenging traditional casting norms and bringing new layers of depth to a beloved classic. Her insights offer a profound look into the intersection of art, identity, and legacy, making this episode a must-listen for theater enthusiasts and those interested in the evolving landscape of American musicals.

Notable Quotes with Timestamps:

• “You need to play Rose in Gypsy. You got to do it. Can you imagine a black woman? It has to be you. You got to do it. You got to do it.”
  — Gavin Creel [04:11]

• “It's a musical fable. That's all I got... When you think about some of the lines coming out of a black woman, they hit in a different way.”
  — Audra McDonald [07:54]

• “I sing that song as therapy for my fears, I guess.”
  — Audra McDonald [20:06]

• “What do you leave to your child when you're dead? Only whatever you put in its head...”
  — Audra McDonald [22:57]

This detailed summary captures the essence of Audra McDonald's insightful conversation on The New Yorker Radio Hour, highlighting her artistic journey, the groundbreaking casting of "Gypsy," and the personal reflections that shape her performances.