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Broadway star and recording artist Shoshana Bean talks about her upcoming solo concert at the Ford Amphitheater, the path she’s taken to get there, and the music she’s discovered along the way.  

I guess we’ll just get right down to it. What’s going on this Thursday? 

[Laughs] What isn’t going on this Thursday? We’re doing the kickoff to Gay Pride for the weekend at The Ford, also kicking off Upright Cabaret’s Summer Series. But my particular evening is a tribute to Streisand, which is the beginning act, and then going into the second act which is my own material. Just to sort of illustrate how I’ve been affected by someone as powerful and iconic and influential as she is.
So why Barbra? Obviously she means a great deal to you...

Honestly? Because it was Billy [Porter, director of the concert and artistic director of Upright Cabaret’s] idea. Initially we were just going to do My Name is Barbra. We were just going to do that and then it sort of morphed into something bigger, and in doing so I recalled how much of an influence she really was. I think growing up she was it for me. And then at some point, once you’re involved in musical theater, its just sort of cliché and almost taboo to be a fan. And then the gay men claimed her and she was off limits.  

So coming back to it and doing the research and listening to all the stuff again…Its interesting when you go back to stuff that you were raised on, you see “Oh my God, I do that because of that!” I didn’t even know why I have that habit or why I have that style. And not just with her, but with a lot of people. But yeah, she was a huge influence… 

And cuz it’s Gay Pride Weekend! I mean, what’s more appropriate for the boys?  

Does Barbra know that you’re doing this?

No, I don’t think so. I think she was going to know cuz we were gonna try and get permission to do My Name is Barbra in its entirety, which we would need because its copyrighted and protected, but I don’t think she knows, no. But that’s a good question. That would be weird if she knew. I’m sure people do it every day of the week! People do tributes to Streisand all around the country! 

Odds are there are going to be a few people in the audience who are familiar with Barbra. What are the challenges to paying tribute to such a well-known, iconic performer? 

You know, its been a struggle and a challenge for me and Billy every step of the way because I feel like some people will wanna come and hear exactly her arrangements, sung exactly the way she does, with the same breaths in the same places, and the same inflections in the same places. And I’ve tried to do that with certain things that are really iconic and recognizable, and then we’ve also tried to put our own spin on things. I’m not doing an impersonation. I’m not putting on the makeup and the things she’s worn and doing my impersonation of her. Its more like paying homage to what she’s done by doing the same arrangements, the same music. But we’ve played with a couple things to take it into today, to make it more contemporary.

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Any apprehensions about stepping into Barbra’s shoes for the night?

That’s why it’s okay, because it’s not an impression. I don’t feel frightened because I feel that we’ve worked this stuff really thoroughly and I feel comfortable with the material and I also feel like because I’m not trying to be her, but rather just pay tribute to her, it’s a lot less pressure. I mean, again, like I said, we’ve been careful every step of the way. We don’t want people to think that I’m trying to be her or one-up her. She has sung some of the greatest songs of all time and had them arranged in some of the most ingenious ways and that’s what we’re attempting to honor, as well as the kind of performer—someone who’s charming and accessible and relatable and funny and easy. 

I watched those old videos in preparation for this and wondered “When did we start to work so hard?” I think of my generation and the way that we perform and you can always see that we’re working and I’m like “when did this effortless brilliance dissipate and become ‘I’m sweating, I’m nervous, I’m making faces so I must be really good!’” And I’m very guilty of it. Even Billy’s like, “Okay, since you know that now, why are you scrunching your face?” And I just don’t even know that I do it anymore, y’know? 

Its just sort of dipping back to a time when things were more classic. And with the stuff that we do in the second act that’s my own stuff, we’ve also stripped it down from the more contemporary layer upon layer upon layer of effects and sounds to just the bare bones of what makes a really good song, which is what she always did. She took these great songs and rearranged them in fabulous ways that you weren’t expecting to hear.  

Any numbers in particular that you’re excited or nervous about?

I’m nervous about the opening number. “On a Clear Day…” is a very difficult song, so I’m nervous about that. What am I excited about? We’ve got these two big medleys that we created, I’m scared about those. I’m scared about singing the entire two hours straight! I’ve done things in chunks, but to sing the entire thing straight through… 

I have a lot of text to memorize still. I’ve memorized all the music. The Barbra stuff really sits well with my in my voice and really feel comfortable and at home with it, so I’m not worried about that. I’m worried about the words I have to say, to memorize, the text, the actual spoken stuff. 

[Laughs] I’m just nervous in general! The Ford Amphitheater! I’ve never done an evening like this. I’ve never done an entire concert that’s two acts, that’s all me, that’s my material and challenging material like that. I’m wearing a gown, I’ve never worn a gown before! It’s just a bunch of things that I’ve never done before!
Tell me about the gown.

The gown my stylist [Ashton Michael] designed for me, like everything else in the concert, is an attempt to bring from her world and our contemporary world now. We pulled pictures of her iconic style. She always wore empire-waisted dresses and there was always lots of fabric to play with, so we definitely have that, but you’ll look at it and think it was made for today. Its very vintage-inspired as well as contemporary and its very “Ode to Barbra”.  

It was kind of genius how the gown came about cuz we had a sketch, he made it, when I saw it I was like “Hmm, this fabric and that...how bout if we cut this?...what if we pin these up here?” He was cutting the hem or something today and I pulled the little things up over my shoulder just to play and I was like [gasp] “It’s the sleeves- like Stevie Knicks that she-” So I’m like “I can wear these up for the first half and down for the second half!” It sounds so silly to say that a gown could be created with divine intervention, but if you had been there for the steps of how this gown came into existence, you wouldn’t believe it!  

Now, some of the people in the audience, like the younger theater generation may be familiar with you, but not necessarily with Barbra…

Shame on them!

It seems like Streisand might be a little different than what your theater fans might be used to…

Than Idina? [laughs] I would be blown away and honored if them coming to this were to open up their ears and their knowlege of Barbra. If they were like "Wow, if she sang that stuff..." I would love it if someone were educated about Barbra. I can't imagine I'm going to enlighting anyone about The Queen herself, but that would be amazing.

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And how do you feel about showing your fans a different side of yourself as a performer?

I love it! I’m thrilled! I think so often in the business we talk about being pigeonholed and expectations and once you’re known for doing something then you always have to do it and I don’t think I’ve ever really felt that. There have been times where I’m like “Oh, I’m now the pop, belty go-to girl. Now I’ll never be in a legit musical theater piece, I’ll always be in the pop musicals and I’ll always riff...” But I don’t really feel that way anymore because I haven’t been doing theater in a couple years.  

But I love it. I love that I’m being asked to and allowed to sing some more—I don’t wanna call it ‘classical’ stuff, but its jazz. I mean, really when I look back on Barbra’s earliest stuff, its jazz. She was a jazz singer. She is jazz phraser, stylist—so it’s awesome to be able to go back to basically where I came from. This is the music I was raised on by my grandmother. This was the stuff that was playing around our house and it’s awesome.  

I think as long as you do something that you believe in and that you’re passionate about, your fans who have certain expectations of you, they are excited and they can’t help but go along with it. And I don’t think I ever do anything that’s so left field. I think if I came out barefooted with a guitar and sang Ani DiFranco songs…[laughs] I don’t know, I’m trying to think of way left field! I think that regardless of what I do, even when I take risks, as long as I’m committed to it and I’m passionate about it then they can’t help but be onboard. Not to say that I haven’t made some mistakes, y’know…many.
The second half of the show is called “My Name is Shoshana” and it’s all your stuff, particularly your newly-released album Superhero…

It’s just my stuff from the album peppered with some Barbra Streisand stuff. In the first act we stay very true to her style and the way that her stuff was arranged and in the second act we take her stuff and make it more cohesive and consistent with my sound, with the sound of today. More R&B, more soulful, more contemporary. Its still going to be in line with the first act but…its my stuff.  

So we’re not going to hear “Defying Gravity”…

No, God no! No. But it’s showing the evolution without saying it, but sort of implied that this is where I came from and how I was raised and this is what comes from really watching a woman who does everything and does everything well and does it on her own.

Doing my album on my own was so bittersweet in that I’m proud of what I did, and its all mine, but its exhausting and it can kill your spirit sometimes and there were so many times that I was like “Why do I have to do this alone?” and “I hate having to make every decision alone and I wish someone would just come in and save me.” 

And in preparing for this concert and watching all kinds of footage of her and old interviews and old movies, I’m realized [Barbra] did everything herself. She directed. When she directed Yentl and Prince of Tides, she does everything from the cinematography to the music, she’s involved in every detail. And that’s why she’s so brilliant, because she doesn’t let anybody tell her what to do, she trusts smart people, but she also trusts herself. 

And I love that I can do this concert and be like “I became the woman/performer/artist I am because I had someone to look up to like that." It took this to remind me, but I’m like “Hell, it may be the harder road, but it’s the more gratifying, more successful, more proud road to take.” I’m not saying I’ll do everything on my own, but to be able to trust yourself and know when to assert yourself and not be afraid to be called a ‘bitch’ or ‘controlling’ or whatever the stigmas that follow her…and myself as well, sometimes.  

In your own words, how would you describe the “Shoshana style”? What parts of you are being brought to the table on Thursday night? 

On Thursday night, I would say you’ll see my more soulful side. I am totally gonna be more myself. Well, I think I’m always myself, but there’s also something about [Streisand’s] stuff that inspired and informed what we did in that she’s fearless and goofy and playful and experimental. And so the things I’m doing Thursday night I probably never would have done before had I not been given the permission to play within the realm of “Hey, Streisand does whatever the freak she wants!” So I’m doing some goofy, fun, frightening, risky things for me! Y’know, I’m not tightrope walking or anything crazy like that, but for me the things I’m doing are exposed and frightening.  

And as far as my own style, I do come from a soulful background as far as what I listened to and how I like to sing so even the Barbara stuff will be more soulful. My stuff is definitely more soulful, but the cool thing about my stuff in this is that its so stripped down. So really just the basic meat of the song, of a well-written song, shines through, and the vocals obviously, and the musicians. It’s just really organic and stripped down, yet really has a lot of sustenance, if that makes sense…
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Congratulations on Superhero! It is quite an accomplishment and as you said, it’s a very long, involved process. So much of your background comes into writing and developing your album, so let’s go all the way back…You were born in Washington and grew up in Beaverton, Oregon. Tell me about your hometown. 

My hometown of Olympia, Washington was a very small, very quiet town. Not much going on. I got involved in probably as much as there was to get involved in as far as theater was concerned. And then when I got to Portland, it was like the whole world opened up to me. There were professional companies and there were acting classes and it was like everything expanded. Y’know, as painful as it was to go through a divorce of parents and move away from where you were raised and your family and your friends, I look at it now as probably the best thing that ever happened to me as a person and a performer.  

Beaverton is the perfect suburb, I think. Its clean, its beautiful, everyone’s nice and friendly, its a slower pace. Its such a newer city that, like I said, its clean, and I remember when I left to go to college and then move to New York and stuff and the first big chunk of time that I was away and I came back and I was like “Its like a fake town, its so pretty.” Its like a storybook, I still feel that way. Its like the prettiest, Portland and Beaverton. Its beautiful, its very green. Lots and lots of trees. They actually say that there’s more creative people per capita in Portland because of the amount of rain and the amount of indoor time that they have to occupy themselves with painting or play or whatever it is…Art. 

Where would you say the love of music started?  

At home, very very very early on. I can’t remember a time when music wasn’t playing in the house. We had a record player, of course, and the tape player. I don’t remember an eight-track, but a record player and a tape player and it was always on. Or the radio. It just wasn’t ever really quiet around the house. And my grandma’s as well, we were just a very musical family that way. My mom taught aerobics and taught dance and was a dancer and so she always was working, cutting music. It was just always on.  

And what was playing?

Oh Michael Jackson. Uh, that was the ones I got to choose, nevermind. Their choices…classic rock. Probably Crosby, Stills, & Nash; Creedence Clearwater Revival. My mom was really into The Weather Girls and Luther Vandross. Old stuff like Four Tops and The Temptations. And at my grandmother’s: Sarah Vaughan, Ella Fitzgerald, Frank Sinatra, Barbra Streisand, Tony Bennett. What else? That was probably what my parents were listening to. My dad was really into classic rock. Rock, rock, rock, rock, rock. Well, at the time it was rock. Now its classic rock.  

And you did drama. What roles did you have a kid? 
When I was 9, I played Louise in Sunday in the Park with George. That was in the professional theater that was downtown. That was the best ever. And I played a little kid in Evita too. And in high school I was in the ensemble of Hello, Dolly! and then my junior year I played Lady Jacqueline in Me and My Girl. And then my senior year I didn’t do the senior musical, I decided to be on the drill team and just focus on that.

So you were a cheerleader in high school... 

I was on the drill team! There’s a big difference! [laughs] We were like a precision drill team, we did the splits and the kicks and we were kind of Rockette-ish, I guess, in a very weird sixties way. It was like they were made in the sixties, these drill teams. So we had the same dances all the way up through the nineties. They probably still have the same dances.  

Were you the popular girl or the theater geek?

Was I popular? I was friends with everybody. I didn’t necessarily have a lot of fans, cuz I was definitely very outspoken, but I hung out with everybody. I had friends in every group. But I definitely had enemies, because people don’t understand that when you’re friends with multiple people. They don’t know why. Y’know, its hard for people to categorize you when you’re friends with all kinds of people. There’s a lot about high school where you just have to shut your mouth and follow the pack and I didn’t do that and some people didn’t like that. So I wouldn’t say I was popular, but I had very good friends.  

Other than Barbra, who would you say were your artistic inspirations? Who did you want to be when you grew up?

Whitney Houston, Mariah Carey, Michael Jackson. I love Pat Benatar, oh my God. Those were the earliest and biggest. I love Bonnie Raitt, and more recently like India.Arie and Beyoncé—not necessarily for the things that you think I like Beyoncé for, but because I love watching where she started and where she is now as a performer, as a personality. And I think what she does, when I watch her perform, she’s so fearless and so bold and so brave and its mind-blowing. She’s just so precise and accurate, she’s never sloppy, she’s just…she’s fantastic! So those are the more recent influences.



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From Oregon, what led you to Cincinnati [University of Cincinnati – Conservatory of Music (CCM)]?

That show that I did when I was 9, Sunday in the Park with George. The lead in that really made an impact on me. I just thought she was phenomenal and I just wanted to be her. Her name was Pam Meyers, and she had gone to Cincinnati. And my voice teacher was also in this production, that’s how I met my voice teacher was doing Sunday in the Park…Once I started studying with her and it came time to choose colleges, she’s like “You know you can go to college for musical theater…” I had no idea. And at that point I was gonna go for like business, or whatever, so I was like “If I can go to college and sing, great!” So I auditioned for that and a bunch of other schools that offered musical theater too. I got in there and I went and visited and I hated it and I knew I had to go. I was like “I’m resisting this, there’s a reason. I have to go here.” 

Now at some point, you roomed with another former Elphaba, Kristy Cates… 

Yeah! All 3 years. Freshman year you live in the dorms, so the last 3 years, sophomore through senior year we were roommates.  

How did you meet Kristy?  

She was in the program. I think we started out with only 24 kids in the class and then there were only 12 of us by the end. But yeah, Kristy was in my class and we hit it off. We were both West Coast girls and we were both girls who loved what we did but also had lives outside of it. And a lot of those other people didn’t, it was just theater all the time. And she and I loved to go to the games and date boys outside of musical theater and go to parties and shop. And we just had that in common…there you go.  

Did you two ever go out for the same roles?

All the time! Yeah, when you’re in that small a pool...I think every show we were up for the same roles. And look, we ended up playing one! [laughs] It was so funny cuz you get to New York and you’re like “Finally, we’re not competing anymore!” 

Did you two ever compare Elphaba notes?

You know we did…we do still talk, we are still friends. Once she took over the role in Chicago she would text me every once in awhile about stuff. She’d be like “What did you do when this?” or “How did you feel when this?”
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We’ll get back to Wicked in a second, but first lets talk about your first experience with a Stephen Schwartz musical in Godspell. How did you go from CMM to starring Off-Broadway?

I got to New York in the Fall and I think it was one of the first shows I auditioned for. It was a couple months after I’d been there and I went in for it and it was just one of those perfect things. I had done Godspell in college and its one of those things that’s just so perfectly catered to the individual and they just happened to pick like 9 or 10 of the most dynamic personalities. And yeah, I just auditioned and…got it. I set my mind. I was like “I’m gonna freakin’ go in there and sing this song better than anybody ever.” And I just made it very, very fancy and they were like “Okay.” 

They say that there’s nothing quite as character-building as being a new struggling actor in New York City. How did that transition “build character” for you? 

I would agree. Well, it tests your will power and your strength, definitely. It tests how badly you want it, cuz it doesn’t always come quickly or easily and so it’s a lot of endurance. It feels like just banging your head against a wall over and over and you’re like “This hurts, but I keep doing it. Why do I keep doing it?” So it definitely tests your drive and your commitment to what you want to do.  

And so does the in-between times when you’re in a new city and you don’t have the support of the people that you’re used to being around. Well, that started in college—not having my mother and my best friends around me anymore. You start to become your own support system, which I think is super important because you can’t always trust people and you can’t always be surrounded by the people that will pat your back and pet your head and tell you that everything’s fine. You definitely become a better supporter of yourself.  

And there was one other thing that I think is super important about it. I remember I got there at first and I thought I would go out for everything, because that’s how they kind of groom you at CCM—to be a triple-threat and be an ingénue and a character and a dancer—and you think you are everything. And after awhile, I’m starting to see here what I’m actually really strong at. That’s the stuff I should be focusing on. I don’t have to be all things to all people. A lesson that I think carries on and on and on for any kind of performer is how much to give of yourself. So that’s another character-building, eye-opening lesson. “Who am I and what am I really, really good at? And let me just focus on that because if I try to spread myself all over the place, no one’s going to get any of me.”  

What was your first place in New York like?

I first stayed with some friends of the family because my roommate that I was supposed to live with, it all fell apart. So I stayed with family for like two months and they had an extra room and a maid, so there was coffee every morning and my laundry was done and on the bed and it was…[laughs] dreamy, okay? Then…I moved into a two-bedroom apartment with five people. And then I moved out to Queens, into the place that I stayed in for the rest of my time in New York. But yeah, I went from one extreme to the next.
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And then came your first official Broadway gig in the original company of Hairspray. How did you get involved with that?  

I auditioned, and I didn’t want to. I was out here in LA actually, in the winter. And I was like “I love it here, I’m staying, its so much better here. I’m gonna be a pop star and do it out here, blah blah blah.” My agents called and they were like “Can you come back here and audition for Hairspray? Its going to Broadway.” And I was like “No, they didn’t cast me for the workshop when I auditioned, so they obviously don’t want me. I’m not coming back in for them.” And they were like “We really think you should…” And I was like “Nope.”  

And then I got another call from someone else who was like “Can you come in and audition for Mary J. Blige to be one of her backup singers?” and I was all “I’m on the next plane!” [laughs] So I flew back to New York and I called my agents when I got there and I told them “Just so you know, I’m in town. Mary wanted to see me, and so if you want me to go in for the Hairspray audition, I will.” And so I did and I remember and being like “That was the most fun I’ve ever had in an audition!” Cuz this was at the point where I was like “I don’t go on dance auditions. I’m not a dancer, I’m not going to go to a dance call.” 

I went to that dance call—its one of those things where its like “Oh this is the kind of dancing I can do. Its athletic, its sporty, its bouncy, its fun!” Jerry Mitchell swept me off my feet. He just stole my heart that day because I was like “This is the most fun man!” It was the best audition ever! We all had a ball and I thought “God, do I want this? Do I really want this?” And I remember it was the longest weekend of my life waiting for the answer. It was one of things were I knew I got it. In my heart I was like “I know I got this but I just need to hear the answer.”  

And then I got the answer and…it just took a minute to set in that I got my first Broadway show. Y’know, I thought Mamma Mia! was gonna be my first Broadway show, I thought Les Mis would be, I thought anything else…and then I thought “Not only is this my first Broadway show, but it’s a brand new, original show.” It was the best experience of my life, that show. That team, those people…its still the gift that keeps on giving. We still get to do amazing, fun things because of that show and I still have some of my best friends from that show.  

When you started Hairspray, did you have any idea of what it was going to become?

[Shakes head no] Uh uh. I think we knew once we had our first preview in Seattle and we almost blew the roof off of that theater. And at the end, we were kind of like “Oh my god, you guys! This is kind of major!” And I think everybody felt that way and at that point we knew. And we also heard that the buzz was starting to build back in New York and we heard that the tickets were already selling and it was like [whispers] “Oh shit…” And then we were a really big deal. We could walk into a restaurant and be like “We’re in the ensemble of Hairspray” and they’d be like “Oh, right away!” We were like the golden children for awhile. 
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And you went all the way to the Tonys! How was that for your first Broadway show?

It could not have been a more blessed path to make a debut. The Tonys were amazing, but up until that point we had done so many things! We were opened since August, so we had done VH1 Vogue Fashion Awards, we had done Up Fronts, we had done The Today Show and Ricki Lake and David Letterman…we were everywhere! We did a photo spread in Vogue! We were like major, y’know! Vanity Fair and we shot a video for the commercial, it was like we were rock stars!  

So by the time it was Tony time and the buzz was so big, we knew. We knew it was it. And I think people were like “Eh, Hairspray. Those kids’ll never work again.” But we just enjoyed it and we didn’t listen and we were so proud of Marissa [Jaret Winokur] and so proud of Harvey [Fierstein] and it was just so exciting for Marc [Shaiman] and Scott [Wittman] and everyone was so loving and supportive…no one could touch us. We were just always on cloud nine, it was the best! 

And you guys obviously did go on to do very big things. Marissa’s got her own TV show, Matt [Morrison]’s got his own TV show…you’ve got your own album and are doing a solo show at the Ford… 

Laura Bell Bundy…Kamilah [Martin]’s a Harlette, Shayna [Steele] is a Harlette, Katie Leonard has been on TV…our cast kicks ass!

How did you feel about the new Hairspray movie?

I loved the movie! And I was worried because I had heard things about the script when people were auditioning for it. Actually I was in Toronto with Wicked when they were filming in Toronto, so I got to go sit on the set and I saw pieces of it that I didn’t understand and so I actually was a little bit nervous. And then I saw it and I thought they really did stay true to the heart of what was drilled into our heads, but made it bigger. You can’t just take something from the stage and expect it to read on film. Adam [Shankman] has such an amazing imagination and I thought it was brilliant, I really did. I loved it.  

So there’s a story that you had a pretty remarkable run-in with Shirley MacClaine. What exactly happened?

I love this story, only because it’s the perfect example of life answering you when you have questions. I had sat out that day for the first time to watch the show. I was an understudy for three roles in the show, so eventually they’ll let you swing out once the run is up-and-running and in good shape. It was a two-show day, so I sat out during the matinee at the sound booth and I watched the show. 

Up until that point, you have a very clear idea in your head of what you’re doing onstage and what it looks like to the audience and how important you are and I was like “Oh my God, we have this entire world created back there…these characters and our lives are so important to us…and you can’t even see us!” We’re back there in the dark, and if you weren’t even looking for us…I was just so disillusioned by what I saw. I was like “Why do I work so hard, why do I give so much every night when you can’t even see me?” 

And I went back to work that night and I put on my makeup and my costume and was like “Well. Let’s do it.” And I remember starting the show at probably 70%. And that’s the thing about that show, its so magical that you can’t stay at 70%, its so uplifting and inspiring and amazing that like 10 minutes into the show, if even that, I was like “I can’t give 70%, I have to give 150! Because its me and its this show and I can’t dumb down who I am because I think I’m in the dark!” [Laughs] It was one of those things.

And I did my thing show as I always do and it was so funny because she was there and of course I saw her at some point and everyone knew and it was the buzz. [Whispers] "Shirley Maclaine's here!] And Harvey's dresser came up to the girls dressing room after the show and was like "Shoshana, Ms. MacClaine would like to speak with you. And I was like "What?" So I went down and she was like "Honey, you are a star. You just shine up there. You just stand out and shine and you're gonna be a star." And Harvey was like "She's Marissa's understudy!" And she was like "You call me when you go on, I wanna see you do that part!" And I didn't, of course, but...it was one of those things that you have to pay attention to. Don't give up, you never know.
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And then came Wicked…you stepped in as a replacement for Idina Menzel under rather notorious circumstances. And that’s pretty daunting role for any actress. Its difficult emotionally, certainly vocally, and Elphaba is almost revered by fans. What was your particular approach to tackling the role?  

You know, in the beginning I just wanted to slip in as quietly and peacefully as I could. I just wanted to do what she did. I didn’t really dive too far into looking at the character or what she was about. I didn’t want to make waves, I was too scared to really expose myself. I don’t think I really felt I deserved the role, I didn’t feel comfortable in my own skin or the green skin at that point, so I think in the beginning I just tried to do what I saw and be done. 

And at some point they called me out on it. They were like “This isn’t enough. We don’t know what you’re doing, but whatever it is, its not working.” And I was like “There’s my wakeup call.” So I went to work and it’s a weird, challenging—not for the reasons you think it is—role. Its just a difficult character and a difficult story and there’s a lot of holes in there, unanswered questions, that you have to sort of fill in the blanks. Add onto that all of the props, all of the costumes, all the sets…it’s a very, very big show and you go from being in the ensemble to being that…it’s a big jump.  

So I eventually did the work that I needed to do and I eventually just made it mine and just wasn’t afraid to make it my own. I’m not Idina. I’m not going to be Idina. I’m not gonna approach things the way she does. I don’t sound like her, I don’t act like her, we don’t look alike. There’s nothing about us that’s alike. That’s the hard thing when you replace someone is to keep that in mind. The only thing you have in common is the role. I just didn’t want to be disrespectful. I didn’t wanna disrespect anyone in the company, any of the creatives, or her. This role wouldn’t even exist in the way that it did if it weren’t for her.  

But little by little the fear got chipped away and more of me was exposed. I think I really, really opened up when we went out on tour. I finished my year and then I had like 6 months off and then went out on the road again…and life happened in that time. I had a lot of things happened in my own life that made me more available to the character, that made me be able to understand what its like to say goodbye to someone and think you’re never gonna see them again. So I was lucky to be able to go back to it and get a second stab at it and feel more confident and happier and more proud of what I did.
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And after Wicked, you did fly solo and free for awhile. You began working on your album. Now that’s its completed and its out there, how do you feel about it?

I feel two ways. I feel really proud. I’m really happy, I’m exhausted. But its one of those things, like anything else, you finish something and you think its going to be a stamp of approval and you send it on its way. But its continual work to keep it afloat, to keep its name out there. Its not something I can just put all that time and money and energy into and just say “Do what you do!” Its like birthing a child and then being like “Raise yourself!”. You have to be there every step of the way and take care of it and nurture it, give it the best life you can give it.  

But at the same time, I also feel like that was where I was at the past two years. Some of the things I say in there, I’m not there anymore emotionally. I feel like that was what it was for its time. I’m not even close to being ready to start working on another album, but I do feel like I’ve almost, I dare say…outgrown…that sound now. Its just very pop, what I did, and like I said, it was perfect for where I was at the time and I’m very proud of it, but I do feel like there’s an element of me trying to prove something or be something…I feel like I’m more settled into myself, probably because of that project, though. Its hard to explain. It was an emotional, educational…it was an amazing experience. It was a lot.  

How autobiographical is it? You have the song “Naomi” about a girl whose boyfriend gets a late-night phone call from a unknown woman. Fact or fiction?   

100% autobiographical with the exception of the two songs that I didn’t write. “Ain’t No Way” is very autobiographical, because I feel like there have been many instances in my life where its speaking to the industry or speaking to men that I’ve loved or whatever where you’re like “I can’t give you what I wanna give you if you don’t let me give it to you.” So “Ain’t No Way” spoke to me in that sense, so in that way I feel its autobiographical. “Feel Like Falling” is not mine. My friend Lucy wrote that. But everything else I wrote from experience, completely. Including “Naomi”, it’s a true story.  

They say that every album is supposed to tell part of an artist’s life story. What part of your story is being told in Superhero?

Aside from the very literal, obviously, meanings in the songs and stories, I think in general it was a time in my life, an evolution. It tells the story of a relationship that I had from beginning, middle, to end. For me, I think it’s the process of finding something, holding onto it, losing it, coming to terms with losing it, being at peace with it. Ultimately “Superhero” [the song] was written out of what I was telling you before about when I was at that point of being “I don’t wanna do this alone anymore! I need someone to fly in and save me. Pull me out of the fire and fly me off to…wherever Superman takes Lois.”  

I just didn’t want to do it alone anymore and at some point, once I just kept moving forward and chipping little by little away and it was done, I did it alone! Well, not alone really, there was a cast of thousands to make it happen…but the motivation was singular and the intention was singular. I feel like all of that came from me “alone”. [laughs] The world ‘alone’ definitely in quotes! That’s why I named the album Superhero, because I was like “I did it! I am my own superhero! I don’t need someone to fly in and rescue me, I don’t need someone to do things for me. I’m obviously very capable!” Its just you have to go through it. It was just the evolution of me figuring who I am and what I’m capable of. Every lesson is that: what I’m capable of.

You’ve said before that you write songs to express messages and ideas that are important to you. What would you say are the messages and ideas that you want to get out there right now?

Independence. Self-empowerment. Strength, self-respect. Oh God, if I had a quarter for every time I see or hear someone behave in a way that is so self-disrespecting. Or allow someone to treat them in a way that is self-disrespecting. I think we’re so afraid to lose things—a job or a person in our life or a relationship or an opportunity—that we don’t stand up for ourselves or we don’t speak our true feelings or our true mind. I just think it’s a really unhealthy, sad way to live and I think if anything, I would like to empower people to own their worth and act from that place.

A lot of the stuff I sing about on the album was from losing somebody and the amount of feedback I've gotten--via whatever websites or people that I meet or come to the shows--about how comforting that is. I think a lot of times we go through stuff and we feel like we're totally alone and no one understands. And then you hear someone wrote a song from personal experience and you're like "Okay, okay! I'm not crazy, I'm not alone, its gonna be okay." I just love to be able to express that to people.
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Equality and gay rights are obviously very important to you. How does it feel that your show is the official kickoff for LA's Gay Pridefest?

I love it! I’m so excited! There’s a moment of solidarity that we’ve been asked to do for obviously what’s going on with Prop 8 and the GLBT community and I can’t get through the text without crying. Its super powerful the times we’re in, I feel like things are changing now and I think that change is painful and often difficult, but ultimately that’s when change happens, when things get a little uncomfortable. I think it’s a huge honor. Its like the cake just keeps getting bigger. First its was a little cake when they were like “You’re gonna do this Barbra stuff” and then it became a bigger cake when they were like “We’re going it at the Ford” and it got bigger when they were like “And its Gay Pride’s kickoff!” Its awesome, it couldn’t be more perfect! I’m totally honored! 

Obviously there are many people out there, not just in California, who are hurting in the GLBT community. What do you say to them? 

Well, to be corny—not corny, I’m saying this sincerely, it may sound corny or cliché—but people like Barbra, people like Obama…people who don’t look like you want them too…when I say that, I mean I think [Barbra’s] stunningly gorgeous, but in the beginning I think she caught flack for her appearance. Or she felt that way, or whatever. Being different isn’t a curse, I think it’s a gigantic blessing. And I think the more you get comfortable with your differences and embrace them as a beautiful thing, as what makes you unique, the easier of a time you have.  

I think it’s the time to get up, I don’t think it’s a time to sit on your hands and be complacent and say “oh well, it doesn’t affect me”. We quote her in the show. She said that “Throughout the course of history, people have always been able to make a change when they’ve wanted to. When they know what’s at stake and they know what they need to do. The clear voice of the people is always heard when they come together in solidarity.” She says “Whether it was the women’s movement, the civil rights movement, or the Vietnam war…when the clear voice of the people is heard, it has always changed the course of history.” I think that’s the case now. And I think its awesome.  

We aren’t being raised in a generation like she was with the Vietnam war going on and the civil rights movement and all these things that were just atrocious that had to be stood up against. We haven’t really had anything to stand for. And I don’t know if that’s because these things are hidden from us so well—I don’t know what it is. But I do feel that with Obama, and with this gay rights stuff, especially within the Broadway community, more people have come together to make a statement and be heard than ever before and I think that’s what needs to happen. In every small community and every big community. You’d be surprised how powerful it is if you can just rally your people around you. So I’d say “Stay strong, don’t give up, focus on the positive, and fucking fight it!”
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You’ve lived all over the country. Why is LA home?

Well, we don’t have to talk about the weather. That’s the first reason. West Coast mentality, slower pace…closer to home, closer to my parents. I don’t know, New York is still really, really home in my heart. Right now LA’s home because I needed the separation from that world. I needed to separate myself from the theater community for a minute. Not slice, but just give some space because I knew what I needed to focus on—not just professionally, but personally as well—and the amount of distractions that are available to you in New York City…whether it’s the fact that I have eight years worth of friendships there, whether it that I’m so involved in that community that there’s always a benefit or a reading or a workshop or a recording to do. There just would’ve been no way—actually, there would’ve been a way—I’m just not sure I was strong enough to say no and focus on what I needed to focus on. It was easier for me to come out here and completely seclude myself and build a new life that was on my terms. It was like I was turning Jekyll & Hyde to the people that were used to me, I just needed the focus to get the album done. And I did. 

And you just recently returned from Pittsburgh, where you spent a few weeks playing The Narrator in Joseph & the Amazing Technicolor Dreamcoat. How was it?

It was fun! It was a really fun time. Fun show, amazing cast, great city! I really didn’t anticipate loving the city as much as I did. Actually, I was a little bit sad when we left yesterday. I was little misty. And nice to do as show again! Nice to have a schedule, nice to be working on something that I wasn’t in charge of, that I didn’t have to call the shots on. Kind of a vacation in a way. It was really nice!

Any roles or shows that you would like to do?

Oh I have a millon of them! I’d love to do My Fair Lady, I’d love to do Sunday in the Park…I’d love to do roles that people would probably never cast me in, unfortunately. I’d love to do Les Mis someday, that’s like my favorite. Well, now as Fantine…at the time I wanted to be Eponine. But now probably Fantine. Into the Woods. Those are like the top ones…
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You were on a plane heading home during the Tony’s broadcast. Have you watched them yet? 

No, I haven’t seen anything. I saw Karen Olivo’s speech because someone put it on facebook. She went to CCM, so that was awesome!

At the same time?

A year ahead of me, yeah.

That’s crazy! So along with Karen, were there any other favorites that you were rooting for?

Alice Ripley. Huge idol of mine. I got to work with her, before Hairspray I sang backup for her, so I got to do a couple days with her and get to know her. She was my idol even before that, from Sideshow and stuff, but I saw her in Next to Normal and I didn’t know an idol could become even more of an idol, but she blew my mind! I was so proud. 

And after The Ford concert on Thursday, you’re off again…

[Laughs] Yeah, Friday!

Where to this time? 

I’m not sure I’m allowed to say yet. I haven’t signed the contract, but I’m sure its fine because we’ve already started rehearsals. I’m going to Vegas to do Peepshow. 

And are you still going to Washington to do their Pridefest?

Oh yeah, yeah, yeah. I’m going to Seattle. I start Peepshow Friday, I’m there for a week, I got to New York to do a show at Birdland, come back for a week, go to Seattle to do Pride, go back to Vegas for a couple days, go to Cleveland for the Fourth of July with the Cleveland Pops, and then I’m back in Vegas for two and a half months. If I can get through the next month, I will be a superhero!

And finally, if I were to ask you again where you saw yourself in five years, what would you say?

Oh God. How old am I? Five years, would put me at…Oh god, I have to own a piece of property by then. There is one role in particular I will have to have played, but I’m not gonna say it for the record. I’d probably like another album. I would like to originate a role back on Broadway. I should probably be married by then! That’s marrying age. Yeah. No kids…well, yeah, a year or so after that, probably have a kid. That’s a big age. Oh the pressure! 
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For tickets to Shoshana’s concert this Thursday, June 11th, at The Ford Amphitheater, visit www.fordtheatres.org or call 323-461-3673. Discount tickets available at www.goldstar.com (while they last) 

Ford Amphitheatre is located just off the 101 (Hollywood) freeway across from the Hollywood Bowl and south of Universal Studios. Grounds open 2 hours before showtime for picnicking.

Due to demand, additional VIP seating has been added. VIP seats include VERY BEST SEATING and passes to the post show Artist Meet & Greet with Shoshana! Drink specials courtesy of 10 Cane Rum & delicious Hors D'oeuvres courtesy of Vermont Restaurant & Bar. Please call Box Office. 

For the latest news and updates on Shoshana, visit her website www.shoshanabean.com. You can also follow her on Twitter at www.twitter.com/shoshanbean

For more information about Upright Cabaret's "Wicked" Summer Nights concert series, including the Eden Espinosa and Stephen Schwartz concerts, visit www.uprightcabaret.com/events

 
 
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DAME EDNA OPENS JUNE 10 AT AHMANSON THEATRE  

“Dame Edna: My First Last Tour” opens Wednesday, June 10 at 8 p.m. at the Center Theatre Group/Ahmanson Theatre in downtown Los Angeles at the Music Center, and will play for two weeks only through June 21.  

Dame Edna, the widely loved international homemaker, talk show host, gigastar, fashion icon, guru, swami and most-sought-after friend of the rich, famous and royal, is making a welcome return to the Ahmanson where she played in “Dame Edna: Back with a Vengeance!” for two raucous weeks in the spring of 2006. 

For more than four decades Dame Edna has dazzled audiences the world over with her one-of-a-kind banter, infinite wisdom and fabulous beauty tips.She won a 2000 Special Tony Award for a Live Theatrical Event for her Broadway debut in “Dame Edna: The Royal Tour,” which also won a Drama Desk Award and an Outer Critics Circle Special Achievement Award.  Said Ben Brantley in The New York Times, “Genius.  Hasten to the theatre and sit at the feet of a star.  What bliss.”              

Created by Australian actor, author, painter, composer and racing car driver Barry Humphries, Dame Edna is a national icon in her native Australia.

Tickets for “Dame Edna: My First Last Tour” are available by calling (213) 628-2772
or online at http://www.centertheatregroup.org. Tickets can also be obtained in person at the Center Theatre Group box office at the Music Center.  For groups, call (213) 972-7231.  For the deaf community, information and charge, call TDD (213) 680-4017.

Hot Tix at $20 each can be purchased in advance or, subject to availability, on the day of performance at the box office (cash only). For further information, please call (213) 628-2772.