Barbara Walsh: Here's to Joanne!

About the author:
In her 20-year stage career, Barbara Walsh has earned a stellar reputation in musical roles ranging from Velma Von Tussle in Hairspray to her fondly remembered turn as Trina in William Finn's Falsettos, which earned a 1992 Tony nomination for Best Featured Actress. With a beautiful smile and a voice to match, Walsh became, as she notes below, the go-to actress for "contemporary mom" parts. Director John Doyle saw beyond that, and now Walsh is putting her stamp on the iconic role of Joanne in the Broadway revival of Company. In a "motherhood-be-damned" performance, Walsh fully embodies the angst that descends on women of a certain age who haven't found anything to occupy their lives beyond shopping, working out and rewarding themselves with round or two of vodka stingers at the end of the day "Ahhhh, I'll drink to that!". Critics and audiences agree that her Joanne is a highlight of the current production. Broadway.com asked Walsh to tell us what it's like to sing one of Stephen Sondheim's most famous songs, "The Ladies Who Lunch," and to play a part so closely identified with the woman who created it, Elaine Stritch.

When John Doyle cast me as Joanne for the Cincinnati Playhouse production of Company, I was delighted because it is not a typical role for me. I think casting people perceive me as a contemporary mom—sort of warm but off-center. Just to have someone see other dimensions in me was wonderful.

As we collaborated in Cincinnati, both John and I knew we were doing something very different with Joanne. So the burden of Elaine Stritch's legendary performance, thankfully, wasn't there. That said, although I wasn't necessarily intimidated by Elaine, I knew that there was a lot to live up to and my work had to be exceptional. In the end, I can only respond to the writing and not worry about other interpretations, even if they are historic!

I really love this character. Joanne is so wry and witty, but there are layers of loneliness under all the bling and the booze, and that's ultimately what interests me. She is full of contradictions: She's beautiful yet ugly; she's dripping with wealth yet miserable. I think her greatest trait is that she is a truth teller. She says what everyone knows but doesn't say. She's also a survivor, having been married three times. She can't stand her current husband, Larry, yet calls for him to anchor her. The disturbing, erratic behavior of an alcoholic is always fun to play because you never know what's going to happen next. Mostly, however, George Furth's remarkable writing and, of course, Stephen Sondheim's stunning music and lyrics give me everything I need.

Interestingly, I met Elaine Stritch at the Carlyle Hotel last fall when the show was previewing on Broadway. We were interviewed by the legendary Lillian Ross of The New Yorker the article has yet to run. Elaine was hilarious. She spoke of "The Ladies Who Lunch" as a three-act play, and I can only agree. It starts as an acerbic attack on the women in the audience, then turns when Joanne sees herself and finally arrives at a brutally honest place of despair. I asked John in Cincinnati what the "rises" meant at the end of the song. He didn't skip a beat and said, "They're a cry for help." With that answer, I asked him if we could take out the instruments gradually and let me hang on some "rises" by myself and then go right into the scene. He liked the idea—hence, no applause after the song. Cutting instruments and forsaking applause makes it one scene and gets me back to Bobby more quickly. Frankly, I feel the moment is better served without applause. But if anyone wants to clap for me, there's always the curtain call right around the corner!

In working with John Doyle, I think the one thing we actors universally learned from him was to do very little. By trusting the text, lyrics, music and each other, we would arrive at a beautiful place. He is the most wonderful collaborator, and we were all truly inspired working with him.

People often ask me how I hope Company will affect my career. Well, just doing the show eight times a week is a dream come true. Like any actor, though, I'd like more great roles in musicals and plays, and more casting directors and directors with the imagination and the ability to think outside the box. I have always considered myself a versatile actress, but when the people who make the decisions see you one way, you start to forget you have other things going on. God forbid I'm only seen as a sexy, glamorous drunk for the next 15 years!

During previews, Elaine Stritch came to the show. Thankfully, I didn't know she was there. Afterwards, coming back to my dressing room, I heard her incomparable voice below me in the stairwell asking, "Barbara, where's Barbara?" I found her. She gave me a big hug and said very quietly, "Wonderful, you're just wonderful." That, I'll never forget.