This transcript was automatically generated and might contain errors.

[0:00] Laura Benanti: My name is Laura Benanti, and you're listening to Eleven, the official theatre podcast.

[0:16] William J Connolly: Hello, and welcome to Eleven, the official theatre podcast that brings the biggest stars and creatives together in one place to discuss life in the arts. She's the self-titled four-time Tony loser. Her words, not mine. That's all of our favourite funny soprano. Known for her extraordinary original role in The Wedding Singer, her star turn as Louise in Gypsy opposite Patti LuPone, and other career-defining performances in The Sound of Music, My Fair Lady, She Loves Me, Nine, and many, many others. There's no surprise why she's become one of the greatest to tread the boards. And with comedy running through her bones, she's become a force on both sides of the pond, most recently during her sellout run at the Edinburgh Fringe with her show, Nobody Cares.

And now she's a gorgeous new musical theatre project for us all to fall in love with. So let's get our fix and find out more as direct from her home stateside. We talked completing the Edinburgh Fringe this past summer, why she'd smack you in the face if you called her show cabaret, unless you're from the UK that is, and how her star turn originating in The Wedding Singer is about to celebrate a milestone birthday. Plus we also talked receiving musical advice from Stephen Sondheim when leading Gypsy on Broadway almost 19 years ago, of which she won her Tony. Trying to navigate a world in which we're looking for constant external validation, plus why all might seem funny when you're the best Melania Trump impersonator, but it comes with a side dose of uncomfortable reality too.

Plus we dive into her exquisite new project as Mother is Mommy in Jo, the little women musical. And remember that bit about funny sopranos? Well let's start a revolution as it's the stunning Laura Benanti here now on this, the next episode of Eleven, the official theatre podcast.

[2:08] William J Connolly: Please help me welcome to this, the next episode of Eleven. She's the Tony winner, Broadway leading star and all round comedy genius that's got us falling in love with her exquisite voice, genius comedic storytelling and all-round mother status. And she's here to tell me all about life. Now she's completed The Edinburgh Fringe and her exciting new musical project that's about to become all our obsession. So I say good day Laura Benanti, how are you?

[2:33] Laura Benanti: I'm well, how are you?

[2:35] William J Connolly: I'm doing very well, thank you so much for agreeing to do this literally fresh off London and The Edinburgh Fringe. Was Edinburgh kind to you?

[2:43] Laura Benanti: It was extremely kind, we were sold out every night, our audiences were amazing. I didn't have sort of the typical Edinburgh experience though because I had my three-year-old and my eight-year-old with me and my husband and our nanny. I'm not like a hero. While other people were, you know, getting drinks and frolicking, I was like going to sleep and waking up and seeing a thousand bubble shows and magicians. So people were like, what did you see? I'm like, Bubble Man and Mario the Maker Magician. But it was incredible, it was an incredible experience. And then we had the encore presentation of it at Underbelly Boulevard Soho on a Tuesday night, which I was like, all right. But the shows were incredible, the audiences were amazing. I was very sad to leave, I was very sad to come back to the shit can that is currently the United States of America.

[3:26] William J Connolly: You had me at Bubbles, I'm not gonna lie, I was like, I'll be there. I do love a Bubble Man.

[3:30] Laura Benanti: There was no Bubble Women, I'd like to point out, but that's okay. Maybe we can start a petition for next year, Bubble Women and Bubble Thems, let's just bubble everything. Bubble They Them.

[3:38] William J Connolly: Also, in London, you said you performed at Underbelly, so you were in The Cow, is that right?

[3:42] Laura Benanti: I was not in The Big Purple Cow, I was in Bristol Square, so I was in a lecture hall. So all of my audience had little tables in front of them, which was actually delightful. They could put down their drinks and lean forward.

[3:52] William J Connolly: You know what, I feel a weird way about that cow. When you said no, I was like, actually, do you know what, I think I'd go for the no. It's just, I mean, they're gonna hate me for this, it just looks weird, right? It's just a big cow.

[4:00] Laura Benanti: It's upside down too. It's an upside down cow. It's interesting how each of the sort of, like, hubs have different vibes. And Underbelly, you know, is definitely the more, I think, family-oriented vibe. And kids love cows, man.

[4:18] William J Connolly: Of all the ways I thought this conversation was going to go, dissecting the importance of a purple cow was not that. But we get back on track with the fact that Edinburgh is this extraordinary thing, that I saw the amazing reviews that you got, and it just filled me with such great pride to see the fact that you were getting your flowers. In this world of cabaret, and I read a really fantastic interview that you said where cabaret actually has kind of two different connotations while the principle is the same. It's very different in the UK, and in particular, Scotland, and I read that you really enjoyed that.

[4:43] Laura Benanti: Yeah, I, like, American cabaret, like, if you called my show cabaret in the States, I would smack you. Because when I think of cabaret, I think of, like, you know, an 85-year-old woman draped across a piano, singing, you know, I don't even know what. Singing glitter and be gay. But that's not what it is in the UK. For the UK, it's more like, you know, storytelling, and I don't know, it's just like a very different connotation here. So I accept the title when I'm in the UK, but now that I'm back in the States, I'm like, absolutely not. It's a comedy show, you know, that's most akin to stand-up comedy. It just has original songs. But, you know, when we say cabaret here, it usually means you're singing somebody else's songs. So you're just, like, sort of telling stories, and then singing, you know, Rodgers and Hammerstein. But I learned to appreciate that it's a different situation.

[5:41] William J Connolly: I was going to say, how long did it take you to kind of make the switch and realize, oh, actually, this title that they're giving to me is a great honour, and also to receive the type of accolades and rewards and success, and as you say, the sold-out audiences that you got, which is so justly deserved. But in a space like Edinburgh, it can be tricky, because there's a lot of competition, and it's a new show. So what was it like when you, I hope, at some point realized, oh, they really like me?

[6:03] Laura Benanti: Yeah, it was, you know, I went in with people being like, you're going to have four people in your audience, and they're all going to hate you. Like, that's what the fringe is, baby. You're going to be handing out pamphlets all day long and crying in your sleep. So I went in being like, this is going to be horrible. And, you know, my very first preview, we certainly weren't full, but we had a lovely audience. And then by the third show, we sold out every night. And audiences were so abusive. They were so warm and vocal, because everyone was like, oh, they're going to be stuffy. They're going to be quiet. And not at all. It couldn't have been further from the truth. So, you know, I think I am, as a, like, as a person who has sort of divine dissatisfaction, and that I'm always looking to improve myself in every possible way, you know, any little part of a review, right, where it wasn't, like, I got a really good review.

But then also, they said, like, I don't know, nothing important is happening. And I was like, I'm going to kill myself. Like, you know what I mean? Like, 99% of the review was incredible. And that one little word that I read 1000 times, I'm like, this is, this is ridiculous. So yes, I felt very grateful. I felt very aware of how special that reception was, because that doesn't happen for everyone. There's 4000 shows. It's insane. And I came in with producers, you know what I mean? So I had people supporting me getting my posters out there. Like, when I think of the truly fringe audience, who are like one person bands, like schlepping their show on their back, handing out pamphlets, truly playing to six people, and they're like, brilliant.

That to me, I'm like, you did the fringe, you know, and I did a version of the fringe for which I'm very grateful. But those sort of, I don't want to call them smaller, those less supported acts deserve most of the accolades.

[8:00] William J Connolly: And I'm so glad that you did get the full fringe experience in the way that people treated your poster with a little bit of a black marker pen. That was so funny.

[8:07] Laura Benanti: It was amazing. I was walked so I would have to pass it to walk from my flat to my theater. I use that in quotes. And I was like, what? And I was like, wow, this is so cool. And then I was like, what the fuck is happening? And I saw the pirate patch and the mustache and I burst out laughing. I was dying laughing. It made me laugh so hard. They were like, we'll take it down. I was like, don't you dare take it down. Leave it up forever. But my daughter, my eight year old was really upset. It was like, why would they do that to you? Do they know you? Are they mad at you? Did you do something to them? I was like, why is this my fault? Don't victim shame. So yeah, but it was very funny.

[8:42] William J Connolly: Yeah, you did was absolutely great. Please go to Laura's Instagram and see that because it made me cackle. I was like, that's the best way to do it.

[8:52] Laura Benanti: There was a group of women who were sitting in the like meadow where the poster was. And when I did it, they all started clapping and they're like, we're going to come see your show now. I was like, great.

[9:02] William J Connolly: The people that maybe didn't get the opportunity to go to Edinburgh or see you in London and think, do you know what? I know you say nobody cares, but I care and would love to see it. Do you think this is the end? Do you think there could be more somewhere somehow? Do you think you could maybe feed the children a little bit more?

[9:16] Laura Benanti: Oh, for sure. For sure. For sure. No, this is just the beginning. You know, I'd like to come back to London for like, you know, a more significant period of time. We're going to do it in the States. I'm going actually to Berkeley, California on the 16th. We're going to do it there for like 10 days. But we're talking about a bunch of cool places, Australia and, you know, all over the place. And then ultimately, the goal is to film it as a special. So, yeah.

[9:39] William J Connolly: California gays, please turn up. Don't do us dirty. Anyway, mother needs.

[9:44] Laura Benanti: California gays, I need you. There was one night where there was clearly not a single gay because I say something in my show about, you know, praising gay men. And normally it's a big cheer and it was nothing. And I was like, well, that explains a lot. And then the next night, it was a huge ovation. And I was like, where were you guys last night? And one guy yelled out Z-Way. They had all gone to see Z-Way.

[10:14] William J Connolly: In the worst transition possible from Edinburgh all the way through to something that is very different, equally as exciting and fulfills part of my cut, which is as a lifelong fan of yours. And I've had the pleasure of seeing you in concert in London, seeing you on stage in my favorite musical, which we'll get to in a second, is this glorious level of storytelling that you do in the way that you sing and the way that you perform, especially when it's you and something new. And one thing that always excites me is when some of my favorite singers and performers do something that is so new. And then you're like, oh, great. Another obsession, another way to lose myself in something. And that is to talk about this extraordinary new album, which is The Little Women Musical and this exquisite album and song.

So for context, for people like myself that were coming into it from the beginning, where does this album start? And in particular, what sort of story is it exploring and telling for those that are going to get the chance to listen to it?

[11:03] Laura Benanti: Well, first of all, I just I really do feel this album is incredible. It is so beautiful. And it's interesting because they started writing it, I want to say, in the early 2000s. And then there was a different musical that ended up being on Broadway. And because I've been thinking about it a lot. And like people don't write music like this anymore for the theater. They don't have these big, lush, orchestral scores. Everything feels sort of, I don't know, tinny, for lack of a better word. So I just think the music is extraordinary. The orchestrations are so beautiful. But yeah, I mean, it's the story of Little Women, a story that's been told so many times, but I think there's a reason we continue to tell it.

It's so funny because, you know, when they first contacted me, I was like, Joe, and then I was like, Oh, Jesus, Marmee, but I'm Marmee. I'm Marmee age. She's Marmee now. Mother is Marmee. So that should be a t-shirt. Mother is Marmee. But I just think the music is so beautiful. And all of the Little Women are so extraordinary. I'm deeply offended to be playing their mother. They are so glorious. The whole cast is. I don't know. I just every time I hear a version of this story, I hear something new in it. And I think because now I'm approaching, you know, Mother is Marmee, I now I'm able to sort of see it through her lens as well. But you really like me explaining it doesn't do it justice. You just have to listen to it. It's so beautiful. It's so stunning.

[12:43] Laura Benanti: Slightly more newer, big, tinny musical theatre things would have this massive crescendo and all this take everything up. I was so moved by the fact that it continues on a similar trajectory and feels so stunning and so beautiful. And you have very little reaction when you're doing apart from being in the zone and being focused with it. And I really do miss that. I feel like that's a real beautiful sort of hark back to the old musical theatre things where it's like actually the emotional connection is probably, dare I say it, more important almost than the musical connection. I wondered, is that the sort of thing where you listen to it and deep dive where you go, and that's the reason why I wanted to do it.

[13:18] William J Connolly: Yeah, I mean, look, not to be like, when’s Stephen Sondheim? But when’s Stephen Sondheim?

[13:24] Laura Benanti: I did Into the Woods. I played Cinderella. I also did A Little Night Music and Gypsy. And the thing he would always say to me is, you know, of course, I want you to sing beautifully, but I care so much more about your acting. I care so much more about your connection to character, connection to story, connection to emotion. And I think of that always, you know, and I think songs that rely on sort of American Idol style vocal gymnastics, I don't find moving. I find it impressive. I can find something vocally impressive. But if I really want to feel moved, if I really want to feel transported or a part of something, or to allow my emotional antenna to be linked to that of the character, that's what I want. You know, I don't want to be emotionally manipulated by 7,000 key changes and riffs. I was so impressed with the musical restraint, while it's so lush and beautiful and evocative of emotion. And I think I would like to hear more and more of that.

[14:33] William J Connolly: Does that then go against what I guess we've all been traditionally conditioned to feel, which is big crescendo, big ending? Do you have to almost fight what we've been taught? Or do you go, Oh, no, this feels right for me, because it does feel different. Like, how does it play out realistically?

[14:47] Laura Benanti: I've mostly done revivals or shows set in a different time. So I've not really done a lot of like, of what you described. I mostly have been part of what we were just discussing. So for me, it feels like a relief. Because I'm like, Ah, yes, this is what I like to do. You know, this is what I was taught. This is what I enjoy. It's also I think, where your voice soars so beautifully is that it feels like you feel comfortable there. It's not like you're trying to sort of masquerade as something else. And so I imagine, and I don't want to put words in your mouth, but when something like this comes along, because it does feel so different, it probably connects with you very personally. Were there bits when you were recording it that you went, yeah, this feels so different, and therefore this feels more like me, as you say, with some of the projects that you've done previously, that do feel in the similar sort of chapter and vein? Do you feel like there is, oh, and I'm back where I feel best?

[15:39] Laura Benanti: Yeah, I mean, it's like, look, it's always good to stretch yourself. You know, I think it's always good. And like the songs in my show are all different genres. And part of that is because I don't want to be just one thing. But when it comes to musical theatre specifically, and what I love to perform, and what I love to listen to, it's sort of like emotionally-centered, heart-based singing with a lush, beautiful score. But you, as a performer, are there to like deliver feeling and message and story. You're not meant to be like, you know, back-flipping everywhere. That does feel like putting on comfortable clothes.

[16:18] William J Connolly: Do you think that's why when you did My Fair Lady, and I think you've spoken and said that was the dream, that was the dream role, that was the one that you wanted to do. Do you think that's why you had the success, not just professionally, but personally for you? Do you think that's why? And I love reading and watching interviews with you where you go like, that's my favourite thing ever. Like, that's the one I wanted to do. Do you think that's why it felt so true to you?

[16:41] Laura Benanti: Yes, I mean, for me, and this comes from a place of like white lady privilege, because those shows of that time, you know, were very much written for like soprano white ladies, which is what I am. I understand the need to move beyond those musicals into something that more accurately represents the world that we live in now, and the music that is popular now, and or to flip the musicals on their head and, you know, bring in people of colour to play these roles. And so I want to acknowledge when I'm like, this is how, you know, I love how musicals used to be. Like, I also see the pitfalls within it. And also, that was my dream role since I was like, literally four years old. And I think one of the main reasons being, A, the score is just incredible.

Julie Andrews is my hero. You don't always get to be funny as a soprano, although I always mine for humour. But she is innately funny. You know, there's innate humour in that role, at least the way that I see it. And so, you know, gosh, when you are dreaming of something your whole life, when you are like, imagining yourself as that person for your whole life, and when you finally get to do it, I mean, the first time, it's gonna make me cry. The first time I got to sing I Could Have Danced All Night on Broadway, I burst into tears, burst into tears. Like, when I, you know, in the revival, they had like a turn, you know, what's it called? A turntable or whatever on the stage. And you start with your back to the audience, and then it rotates you around.

And you know, I had been talking for literally 20 years about wanting to play that role. And my first show was filled with people who clearly knew that. And the ovation that they gave me at the start of that show to be like, you fucking did it. Like, we know how much this means to you. And we are letting you do it now. I could barely get through. I could barely I was like, holding on by this, you know, it was just such an incredible experience. And I can't believe I got to do it. I did it. I slipped right in. I turned 40 playing that part, the last possible moment I could have played her.

[19:02] William J Connolly: Also, Sopranos that are funny. I mean, this is literally a genre that I think we need to build out because this is literally your wheelhouse. This is where you, I imagine, feel where all of your worlds come together, which is as a soprano and as an actor. And also, your funny bones run through everything that you do. And I imagine that's probably why that also feels so good for you doing some of the other roles that you've done as well. Because it's like, it's you. It's like, literally, probably the closest to Laura you could get.

[19:29] Laura Benanti: Yes, no, absolutely. And, you know, I think like Kristen Chenoweth and Megan Hilty, like, you know, these women who are comedic actresses and sopranos, I mean, you know, Megan, obviously, they can sing other things, but like, to have the legit chops to sing in that way, we don't get invited to make people laugh a lot. And so when we get to it's just really thrilling.

[19:52] William J Connolly: You referenced a second ago about wanting to be able to acknowledge privilege and update. Obviously, that was very recently the revival of my favourite musical of all time, which is Gypsy. And of course, we saw the gorgeous, stunning Joy take over a role that you know very, very well and just saw in that production. So my two questions for you around Gypsy, if that's okay, is to be able to see the evolution of it, to be able to see the scope widen and more people be able to live out their dreams, something that I know she’s spoken about, to see a new audience come to the theatre, faces that so often aren't allowed in these spaces, or more importantly, feel comfortable. What did that make you feel like as somebody that's part very iconically of the Gypsy legacy to know that Joy could have her space and most importantly, she could feel like she owned it?

[20:39] Laura Benanti: It's thrilling. You know, it's, it is, it's absolutely thrilling. I wish that Arthur Lawrence and I wish that Steve, I wish that Sondheim, I wish they were alive to see it. You know, I think they would both be incredibly proud and moved. And I think it is the future. You know, I have a lot of feelings about Broadway and, you know, theatre for a rich audience and how on earth are we going to create new theatre lovers if you can't afford to bring your children to the theatre. I have a lot of feelings about that. To have a more inclusive environment for these beautiful stories that are a part of the legacy and history of musical theatre, it is the only way for it to survive. Otherwise, it, they just become museum pieces that we no longer connect to.

So I just think it's thrilling. I really do. And also, it raises such an interesting but perhaps slightly simple question, which is like, people say, oh, it's only supposed to be for this type of person. But says who, right? Says who? Who's the gatekeeper to this?

[21:38] William J Connolly: Yeah, well, also, like, God, it makes me, you know, when people were like, Ariel's not Black. You're like, Ariel's a mermaid. I think you're going to be okay. Or even like in this Harry Potter sequel for HBO, not sequel, but the television show, people are like, Cerberus is Black. You're like, Cerberus is the wizard. Like, yes, he can be Black. So I feel like all the gatekeeping that is done around these characters, it's, I just don't, I guess I don't intellectually understand it. I do, because we're racist. But to create, you know, I want to see a world that looks like the world. And the world doesn't look like all English speaking white people. That's not what it is. Nor do we want it to be.

[22:28] Laura Benanti: No, nor do we want it to be at all. And also, as you very, very, very rightly say, it reflects the real world. It reflects the people outside that want to come and get lost in this world. And also, on talent, you just have to sit in that theatre, like, hello, that's one of the best shows I've seen in a long frickin' time. How could you deny that?

[22:46] William J Connolly: I know. Well, it's like, you know, Cynthia Erivo playing Jesus. I wish I could have been in every single, like, home of these lunatics when they learned that. I wish. But you know, she is transcendent. She's one of the most talented human beings on the earth. And to continue to break boundaries and barriers in that way, I think some people are like, well, it's, you know, it's alienating people. I'm like, no, it's not. It's alienating the right people. Bye. Don't need you. Thank you.

[23:23] William J Connolly: Through fear of asking this question and making you feel incredibly old, I don't know if you do look at sort of dates and times, but next year is the 20th anniversary of that revival. Can you believe that? 20 years?

[23:31] Laura Benanti: Wait, that cannot be possible. Oh my god. 2007 was the first time you did it. Actually, we're just a little bit short. Okay, so it'll be like 19 years. Yeah, 19 years. Where does time go? Like, this is what I fully do not understand. Because I don't, I'm 46. I don't feel 46. I've been doing this since I was 18 years old. And I don't feel different. And that's what's crazy. It's crazy. Time is insane. And then I'll catch a glimpse of myself in like, you know, the reflection of a window and be like, oh, it's that person.

[24:05] William J Connolly: It's also interesting as well, I feel like with that production of Gypsy, where it's still described as this definitive production that Steve had the involvement in, which means that your legacy gets to continue with it forever, which I imagine there's probably very many things that you've done in your career that you go, this is the core thing, or this is maybe not the very glamorous thing. But the thing that I remember, I could imagine having Arthur's Blessing, having him love it, but also having Steven love it as well and have Steve say, yeah, Laura is the right person for it. And of course, that's a place where you receive rather a lot of love and support. And most importantly, the win with the Tony as well. Is it the sort of thing that you go? Yeah, I did that. And I got that approval. And I got that love. And you know what, regardless of what happens, no one can take that from me.

[24:44] Laura Benanti: I do feel that I do feel that I feel a sense of, you know, as I said earlier, I'm hard on myself. And I look at my participation in that show and I'm really proud of it, you know, and I loved her. And probably the ultimate compliment was her son came to see it, Gypsy's son, and he came backstage and I was still in my gown from the last scene. And he like fell into my arms and started crying. And I just hugged him. And he was like, I felt like I was seeing my mom. And I just sort of like held him. And I was like, I will never forget this moment for the rest of my life. I do feel like it was healing for him in some way.

[25:27] Laura Benanti: It was just the most special experience to be there with Arthur, who wrote it, with Steve, who, you know, contributed so beautifully to it. And to have their love, support, approval, for them to champion me so much and our production so much was, I'll never forget it. God, how lucky am I? For people that love this show as much as me, I do have a very special episode that was recorded at the start of this year with Patti LuPone about Gypsy, and it was exquisite. And I did ask her about Rose's Turn, about how exquisite that was, and you, of course, got the best seat in the house because you then get to be the first person on stage post that moment. What was it like literally standing in the wings watching this earth-shattering performance from one of the greatest that has ever tread the stage and lived?

Well, what's interesting is, from where I stood backstage, I could watch her and I could also see the first couple rows in the audience and their faces as they just watch a planet explode in front of them. It was remarkable. And I watched her, she really worked on that. She and Arthur worked for months and months and months to get the song to the place where it was. And to get to come out once it was done and say, you really would have been something, Mother. I mean, again, I'll never forget it for as long as I live. And Patti's so tiny. You know, she's five feet tall, if that, and I'm 5'7", and I was in big heels. So I'm like towering over her. And by that point in the song, she's gone from this larger-than-life Rose to almost a child. You know, it's in that moment, I always felt like, okay, that's where they switched roles. And Louise became the mom. To see the raw, vulnerable emotion on her face was such a gift and an honour.

[27:16] William J Connolly: There was a moment just in probably like the closing bars of that moment where you put your arm around Patti and you led her off the stage, which is just magical, right?

[27:29] Laura Benanti: That was Arthur, you know, that was Arthur, where he was like, this is where it switches. So yeah, I loved that moment, too. I'm glad you noticed that. It's the best. I could talk about this show all day, but I promise I will not.

[27:41] William J Connolly: I'll talk about it all day, too. Don't give me an excuse.

[27:44] Laura Benanti: Listen, I'm hiding from my children. I'll talk about this as much as you want.

[27:49] William J Connolly: This is a podcast. People won't be able to see, but Laura's literally sat on the floor, hiding.

[27:52] Laura Benanti: By my laundry, by my pile of dirty laundry. They're like, God, show business is so glamorous.

[27:57] William J Connolly: So glamorous. I'm hiding from my children.

[28:06] Laura Benanti: I've just realised why I said 20 years. I got myself confused because the next thing that I'm going to mention to you is exactly 20 years next year. Do you know what I'm going to mention?

[28:16] William J Connolly: No.

[28:16] Laura Benanti: The Wedding Singer.

[28:17] William J Connolly: Oh, yes.

[28:18] Laura Benanti: Which is 20 years. Which, right. Okay. Have you ever experienced this? Whenever you talk about what's your favourite musical, people go, Wicked, Les Mis, Phantom, etc, etc, etc. And then I always go, and I really love The Wedding Singer. Everybody is obsessed. What is it about this show that makes it quite literally a drug?

[28:34] Laura Benanti: I truly do not know. And I, I mean, I've got on record as being like, I don't know why I was in that show. Like, I didn't belong there. Like, I don't know how that happened. But it's such a good show. You know, Chad and Matthew are so talented. Obviously went on to do The Prom and so many other wonderful musicals. And in some ways, I think it was kind of ahead of its time. You know, it was one of the early on movie musicals. And I think Broadway was still in its phase of like, we don't like that. And now that's literally all it is. But, you know, I do think, you know, there was queer representation. And it was just so funny and also heartfelt. And I feel really lucky now that I get to be a part of it.

I think for a while I felt like embarrassed. First of all, it was one of the worst times of my life. I was going through a divorce. And I was just like miserable and I couldn't eat. And I was like disappearing in front of my own eyes. So personally, that was a bad time for me. But then I also just felt like I don't belong here. I'm this like soprano living in a pop world. And I'm an imposter. And but over the past 20 years, so many people have been like, I fell in love with you in the Wedding Singer album. And I'm like, you did? Now I'm gonna like, like you said earlier, I'm gonna like accept my flowers for it and go, OK, I maybe I'm wrong. Maybe I just maybe I should have been there.

[29:54] William J Connolly: I love the fact that you say in a pop soprano in a pop world. And yet one of the songs you sang was called Pop.

[29:59] Laura Benanti: I know, truly, truly. The reason why I think you're there, apart from the fact that you're exquisite, is the fact that it is this pop and world mixed with musical theater, mixed with comedy. And it means that it again feeds all of the Laura Benanti genius of where you feel so comfortable, including singing ballads like Come Out of the Dumpster with comedy. And that song, If You're Not Funny, that song don't work.

[30:22] Laura Benanti: Yeah, that's true. I love that song. That song is so good. So good. I mean, every single song in that show is wild. When it comes out on my shuffle, I'm like, yeah, OK, we're just going to jump out of shuffling straight back into the Wedding Singer like it. It's a really good show.

[30:36] William J Connolly: It is. And it's also part of this club. I think Bonnie and Clyde is very much part of this. And I think Legally Blonde too, where it became more successful after the album came out because the album kept it going. Do you know what I mean?

[30:47] Laura Benanti: Yes, I completely agree with you. And that is where I think, you know, cast recordings can be so powerful. And like to take it back to Joe for a second, I know they want to make it a production, and I'm hoping that the album enables that to happen because, you know, we fall in love with music in our cars. It's also interesting you mentioned about the connection there, because one thing I think is really exciting that they're doing is actually explaining the creative process with Joe. And I know that they're doing this event, I believe, on the 20th of September, which means that people can understand and learn and teach about the ways in which this album and this creative process has come together, which means that it's letting people inside this world, which I think traditionally we used to not do.

We used to be like, everything's perfect and shiny. And actually now it's like, you know, it is a creative process. It's about exploring and being vulnerable and actually giving audiences the opportunity to potentially even feedback, I don't know, and sort of explain what connects with them. And I feel like as a creative and as somebody like yourself, it must be nice to be able to get reactions in a social media world and people tell you what's vibing with them. And more importantly, but why?

[31:48] Laura Benanti: Sometimes.

[31:51] William J Connolly: Sometimes that's nice.

[31:52] Laura Benanti: And sometimes you're like, oh, I'm a C word. Didn't realize that. I mean, I think some of it is I do a lot of political comedy, so I'm getting both ends of the spectrum. But yeah, I mean, the social media, I think, but again, earlier, it's like, if you believe the good, you have to believe the bad. So I do think we are living in this age, says grandma, we're living in an age of the constant need for external validation. And I do think in some ways, I think in many ways, frankly, social media and the internet has taken us away from our own internal compass. And so we're all sort of like trying to mould ourselves in what we think other people want us to be. And in many ways, that's not a great place to make art from. So I think it can be good and both good and bad.

[32:37] William J Connolly: Do you mean to tell me that people have divisive thoughts about Melania Trump?

[32:40] Laura Benanti: Oh my God. Today, there was a police car sitting outside of our house, and I turned to my husband and I was like, the jig is up. They've come to get me. But like part of me is not even joking. That's what's crazy. That's what's happening in our country right now, where they're just like, I don't like that joke you made. So we're going to take you someplace else.

[32:56] William J Connolly: Yeah, it's really, really crazy. I was going to say, it's interesting, actually, comedy, because comedy is probably the only thing that allows you to get really close to something very uncomfortably for the receiver, probably also as well as the person that's giving as well. So how is it at the moment, if you're comfortable talking about every time you perform as her and step into that world, how much you have to consider about the response, as you just mentioned?

[33:17] Laura Benanti: Yeah, I mean, I don't normally do her outside of the Colbert show, which was canceled. And I think we're going to see her maybe one more time before it's done. But I did her in Las Vegas, like in one of my concerts, not my comedy show, but in just like more of a cabaret, where I sing musical theater songs. And this guy just started screaming at me. And I was like, OK, this isn't physically safe. So yeah, I mean, we're just, it's interesting, being in the UK, I felt like every time someone heard my American accent, there was a moment there for both of us, where I, and I just started saying, I didn't vote for him immediately. Like, may I please have a coffee? I didn't vote for him. And then people would just laugh and it would break that tension.

But you know, what we're doing doesn't just affect America, it affects the world. And I think, I'm sure you, I don't need to tell you this, but the way that the rest of the world is viewing us is just like, what the fuck is wrong with you guys? And the answer is, I don't know. It's so scary.

[34:19] William J Connolly: It is. And we've had many conversations. Actually, something that I had with Patty very deeply was about the importance of people like you and the importance of what you do and the importance of the fact, as we saw with, what is it called? The Kennedy Center, et cetera. Like all the things that they take, like the arts are the ones that go first. Because actually, I would argue, while I don't want to put anything else on your shoulders, that you have one of the most vital and also piercing voices because you are so close to home and you have the platform. And that's probably why maybe individuals like the one that you referenced respond in the way that they do because it's really fucking close to the truth. And it's also shining a light on reality, which as much as they want to stick their head in the sand, let's be honest, these things aren't happening by accident.

[35:01] Laura Benanti: No. And you know, it's like the fascism playbook. Silence dissent, silence art, silence anything within our popular zeitgeist that says anything except what the regime wants you to say. And we are watching this happen in real time. The fact that the opera house is being named after fucking Melania Trump, get out of here. You know, it just breaks my heart. I've worked at the Kennedy Center so many times. I've performed at the honors, which now I don't even know they're just gonna, you know, honor Kid Rock five times. Like, I don't know what artists will be like, yeah, that's cool. So it's just heartbreaking. It's heartbreaking. And I pray that it turns around. I don't know. I don't know. But all I know is we can't stop making fun of them.

[35:52] William J Connolly: When you think back to the beginning, think back to your Broadway debut, all the way through until now, and these exquisite opportunities that you have rightfully earned and given to yourself and worked hard for yourself. What do you think the Laura back there would think of the Laura that's sat here now, leaning against the wall with her Tonys, but more importantly, with your dreams come true, the accolades that you rightfully have got, the love that you've received most recently, and the creative fulfillment of fulfilling your dream of getting to play your lead role. What would she think of the Laura right now?

[36:19] Laura Benanti: I think she would think that the Laura right now needs to be a little bit more grateful. You know, I think all I ever wanted was to be on Broadway. It's all I ever dreamed of. I didn't dream of movie stardom or television stardom. I wanted to be, you know, I wanted to star on Broadway and I got that so young. You know, I played Maria in the Sound of Music when I was 18 years old. And I think it's easy to get into, I should be more successful. I should be doing more. I should be blah, blah, blah, blah, blah. And I think 18 year old me or 17 year old me would be like, bitch, you are so lucky. And that's the thing that I keep my focus on because it's really easy to get into a place of why not me?

Why not me for these other things? And there are so many incredibly talented people in this world, arguably more talented than me, who don't get an opportunity to do this for a living, if at all. And so I feel incredibly, incredibly grateful. And I think younger me would want me to focus on that a little bit more.

[37:19] William J Connolly: Here's to looking at more of the positive ways of life. Here's to looking at the good rather than the bad. I know that it's an easy thing to do, but you have given me some of my favourite projects of all time and you've brought a lot of joy to a lot of people. So thank you so much for your time today. I really, really appreciate it. Good luck, I should say, creating a cast album live event, 20th of September. Make sure you tune in. California Gaze, turn up for Laura. I'm expecting to hear you turned it out or I will be coming for you, bitch. Make sure you're there. California Gaze.

[37:46] Laura Benanti: Thank you so much. I look forward to seeing you very soon.

[37:49] William J Connolly: Thank you so much.

[37:53] William J Connolly: You've been listening to Eleven, the official theatre podcast. Find out more about Eleven at elevenpodcast.com or via the Broadway Podcast Network.