Donna McKechnie, Star of London's The Wild Party on Working with Triple Threats, A Chorus Line Memories & More

Donna McKechnie is that increasing rarity: a Broadway legend whose vitality defies the years (was A Chorus Line really four decades ago?). She can now be seen back on the London stage in director-choreographer Drew McOnie's production of The Wild Party, at the newly named Other Palace playhouse through April 1. McKechnie inherits the part of the seen-it-all Dolores that brought a 2000 Tony nomination to the role's originator, Eartha Kitt, when the George C. Wolfe-Michael John LaChiusa musical premiered on Broadway. McKechnie spoke to Broadway.com about the thrill of returning to her second home—London—and about her own history with wild parties. 

Did you see The Wild Party on Broadway in 2000?
I did but without remembering all that much about it, though, of course, I remember Eartha [Kitt], who was very inspiring to me in a role that fit her like a glove. She was perfect. But while I loved the music and lyrics, what I didn't see enough of in that [production] was the party; there wasn't enough dancing. Our take on it is very different—this is a whole other thing. 

How do you feel about this company and your director-choreographer, Drew McOnie?
To my mind, Drew is a little genius: it's almost if he's created another stage language. I can't think of anyone like him, really. Sometimes when you work with John Doyle, say, you get these surreal stage patterns but no dancing whereas Drew supports the feeling of the piece with movement throughout. As for the company [which includes Frances Ruffelle in Toni Collette's role of Queenie], everyone is a triple threat. 

Will people who saw the Broadway version feel as if they are seeing something fresh?
I think so, yes. My 11 o'clock number ["When It Ends"] is now more of a 10:45 o'clock number [laughs] in that it's been moved a tiny bit earlier so that the central love affair has a more sweeping feel at the end and isn't interrupted by a song of reflection. The thing with Drew is that everything he does is so organic: it reminds me of the way Michael [Bennett] used to work. Drew can do anything in my book right now. 

What's your take on the character you play, Dolores?
What I like about her is that she knows what she's talking about: she's a survivor. She can't live in denial anymore, so what she wants is to have one real moment, which the score gives her big-time in that song. What Dolores needs to discover is that love is the answer, and from the inside out. She has to forgive herself and to love herself, and to realize that about her big number is to take a journey with it. 

Didn't you refer elsewhere to Dolores as "Cassie grown up"?
Maybe at one point but I actually think she's me grown up, and I'm still discovering the journey with her. I've had great experience in terms of leading companies and being part of great theatrical ventures. I have a reference of my own that's real, and it's wonderful for me to get to use it.

Did this character remind you at all of Carlotta in Follies, who gets a similarly themed number in "I'm Still Here"?
Yes, but then a lot reminds me of Follies, given that I have done Sally, Phyllis and Carlotta in that show, all at different times. I should be in the Guinness Book of World Records. The difference with The Wild Party is that there are no ghosts: everything exists in the here and now. 

Have you put a bid in to join the National Theatre's forthcoming revival of Follies, starring Imelda Staunton and Janie Dee?
I'm going to have to check that one out! Maybe this time I could play the old soprano [who sings "One More Kiss"], but I'm not quite old enough for that one!

Have you seen the London premiere of Dreamgirls, a show you must have known from its inception, given your history with its creator, Michael Bennett? 
Not yet, but I am dying to, of course. I would love to see it because it sounds like a very successful production. It seems as if times have changed quite a bit from when A Chorus Line opened on the West End, and I came over only to be voted out by British Equity when it all became very political. That was a tough time for Michael and me, but at least I was able to teach Petra [Siniawski, London's Cassie]. The whole thing was on the front pages for four days.

Do you actively seek out revivals of Michael's shows, or of A Chorus Line?
I genuinely love seeing things come around again and believe in shows coming back because people should see these things anew, though it can be hard for me to see Michael's shows where I am not seeing his work—where, sometimes, people are telling the story differently just to be arbitrary. At the same time, I understand the need for a new choreographer on a show who needs to express himself artistically. What's great with A Chorus Line is that there are still people in charge who know the show and what it's about, and it's wonderful that it has been so well cared for over the years. That show really did change my life.

Does London feel like a second home?
Absolutely. I came here to do Promises, Promises way back when because Michael [Bennett] wanted me to do the "Turkey Lurkey" number, so they flew me over for a month, which set a precedent. During the 1970s, I was here quite a few times and then, of course, for Can-Can on the West End during the 1980s and Follies in concert and so many happy memories. Oh, and then there was the BBC live recording of A Chorus Line with David Soul in Golders Green, which was an unforgettable experience, as well. I'm doing my cabaret show here March 19, which will be fun.

And what about your own experience of wild parties: surely you've been to a few along the way?
I know about that stuff but was largely oblivious to it even when it was happening all around me. You can't do eight shows a week and do drugs—well, I can't anyway.