Vanessa Williams on Sondheim, Sondheim and Her Hectic Broadway Return
You’d think that starring on an acclaimed TV series like ABC’s Ugly Betty, raising four children (ranging in age from nine to 22) and working as a spokesperson for companies like Proactiv would keep Vanessa Williams busy enough, but no—a few months ago, the Tony, Grammy and Emmy Award nominee decided to toss a Broadway show into the mix. Of course, when director James Lapine calls with a chance to do a new revue honoring Broadway’s most celebrated composer—as was the case with Sondheim on Sondheim—few theater vets could resist. Which is how this busy leading lady, alum of shows like Kiss of the Spider Woman and Into the Woods (for which she earned that Tony nomination), has found herself center-stage in Roundabout Theatre Company’s intimate Sondheim salute. We checked in with Williams as the show gears up for its April 22 opening at Studio 54 to find out more about her reunion with Sondheim, and to look back on at her impressive life in show business.
You’re back on Broadway and working with Sondheim a second time. Déjà vu?
I’m just so happy to be called back after working with him on Into the Woods. It was a treat to be able to work with him personally on the revival of that—I mean, he wrote new lyrics for my role, The Witch, on that show. So getting to work with him again is amazing. I have to thank [director] James [Lapine] for that. He made the phone call that got me onboard this project, which he’s had in the works for five years. He’s very particular about his casting, and his reaching out to me at the start means I’m very flattered and happy. I’m enjoying every minute of it.
Do you remember your first Sondheim encounter?
I remember the first time I sang for him. I sang “There Won’t Be Trumpets” [from Anyone Can Whistle] when I had that first meeting for Into the Woods, right before 9/11.
What was working on that revival like?
It was a time of great pain and mayhem. After [September 11] erupted, we went into rehearsals, then did our out-of-town in L.A., then came back to open the show. It was that year where no one was coming to New York. It was a tremendous time for everyone, and a horrible time to actually do a show, because there was so much fear and devastation around. So that was my introduction to working with Stephen, if you can believe it. I guess it was apropos, and relevant—as it always is with Sondheim—given the nature of that play.
Did you find him intimidating?
Oh, sure. We’re still intimidated when we find out he is in the building [at Studio 54] now—and he comes weekly. You step up your game and concentrate on those intricate lyrics he’s doled out. You want to please him and do your best. Especially in this show, which is only skimming the top of his immense body of work. So yes, [he’s] intimidating, always. He’s shaped musical theater as we know it today.
Having worked with him 10 years ago and again now, has he changed at all?
No. I was lucky enough to go out to dinner with him and James on my last week of Into the Woods. I was leaving to do a production of Carmen Jones at the Kennedy Center, and he said, “I remember when Oscar Hammerstein was rewriting the opera Carmen to Carmen Jones,” which Dorothy Dandridge did on film. It’s amazing how full circle something can be—I thought [those two jobs] were completely unrelated, and it brought back a memory for him. He’s still got a great sense of humor. We live to make him laugh. When you get a laugh out of a writer, that means you’ve either done what he thought of on the page or exceeded his expectations, and that’s always great.
Sondheim on Sondheim highlights the composer’s life in show business. What’s your favorite part of the biz?
Doing the work. Getting the job is frustrating, but when you actually get a chance to do that work and it’s worthwhile, that’s the payoff. Obviously, having a long career [means] you [sometimes] work with people who aren’t as talented, so when you get to work with someone who is extremely gifted, that’s what makes the difference. As Sondheim said when he talked about Hammerstein, his greatest gifts were the teachers he had. When you work with the masters, it’s a chance to learn and get better.
What is your least favorite part of the business?
The time. I love to rehearse because I love to be prepared—I’d much rather be over-rehearsed than have anxiety. But in this particular project, I was shooting Ugly Betty at the same time as rehearsing to open a Broadway show. I was either shooting in the morning and singing in the afternoons, or starting out one place and rushing to another. It was a lot of 5:30AM reporting for filming, finishing the shoot and slipping right into the next role. But I loved both opportunities, so I was always energized. People ask, “How do you do it?” And I always say, “Hey, I love what I’m doing.” If I didn’t want to be here, it’d be a drag.
When you look at your body of work, is there anything you still want to accomplish?
I’ve been really lucky to have success in a lot of fields I never thought I would. I never thought I’d be a recording artist. I’ve been nominated for multiple Grammy Awards and have platinum records—that’s been a dream come true. I’ve been nominated for a Tony, which was phenomenal. I’ve worked with phenomenal people in film and television and been nominated for three Emmy Awards back to back. You grow up and watch your favorite TV shows and think, “Wow, that looks fun. I’d like to do that.” But to actually do it, and get recognition on top of that, is beyond. In terms of all that, it’s been wonderful.
There has to be something you haven’t done yet but would like to try.
I’d love to do a movie musical. I did Bye Bye Birdie for the small screen on ABC back in 1995 with Jason Alexander, which was a joy. I’d like to try that next. And I’d love to originate a role on Broadway. Sondheim on Sondheim is an original show, but the roles vary. Creating a role is always more appealing than stepping into someone else’s shoes, though that’s never intimidated me, since I’m always able to bring myself to a part. I don’t let someone else’s performance hinder me.
Sondheim speaks openly about his art being his legacy, since he has no children. How do you hope your own children look at your legacy?
Both my parents were music teachers, so I grew up in a nurturing environment where people respected the arts. I was exposed to every aspect of the arts. As a result, my kids have been brought up in the same environment. I know they will remember that and pass that same enthusiasm to their children. They know my work is a labor of love for them.
Are they going to follow your path?
My middle daughter [Jillian, 20] is a dance major and a junior at the New School, so she’ll graduate next year and probably dance with some company soon after. She’s doing a fantastic job. She danced with me when I hosted the Daytime Emmy Awards, so she’s involved and will be able to have a successful career. My other two [daughter Melanie, 22, and son Devin, 16] love design. I don’t know whether they’ll end up in the arts, but it’s creative. And my little one [daughter Sasha] loves it already—she’s only nine. I’m holding her back so far, but she’s very enthusiastic! She danced at the Academy Awards a few years ago.
Final question: You were onstage with Sondheim for his 80th birthday. How would you like to ring in your own 80th?
Wow. Well, the fact that [co-star] Barbara Cook is 83 and doing eight shows a week and sounds as good as she does every night is amazing. If I could have half of the same quality of performance she delivers, I’d like to celebrate by [performing]. I don’t know about eight shows a week at 80 for me personally, but it would be great. People leap to their feet when they hear her sing! If I can still create that kind of electricity at 80—and still be alive—I’ll be happy.
See Vanessa Williams in Sondheim on Sondheim at Studio 54.
