Rachel York: A Cathartic Experience

Rachel York has definitely found her spot as one of the top female performers on the American stage today. Her dexterity as an actress in a wide-range of roles has earned her critical acclaim, especially after her turn in the successful revival of Kiss Me Kate. She is currently starring as Guenevere in the National tour of Lerner and Loewe's Camelot.

Rachel York – seen most recently in Dirty Rotten Scoundrels – made her Broadway debut in City of Angels (1989) and later earned the Drama Desk Award (1996) as Norma Cassidy in Victor/Victoria opposite her mentor, Dame Julie Andrews (with whom she had previously shared the stage in Putting It Together). Rachel York was the youngest woman to play the role of Fantine in Les Miserables and was lauded for her portrayal of the legendary Lucille Ball in the CBS TV-movie "Lucy."

Rachel was kind enough to chat with me the morning after Opening Night of Camelot (currently playing the American Musical Theatre of San Jose through February 11). The opportunity to speak with this charming and entertaining woman was a true pleasure and a "cathartic experience" for her!

Eugene Lovendusky: Hi Rachel. Thanks for taking the time out to interview this morning. How was Opening Night?

Rachel York: It went pretty well. You know it was our very first night in San Jose and so all of our dressers are new, the crew is new, so everybody's learning what they need to know within about an hour's time so it was definitely a little chaotic before the show. But for the most part, technically it all came together, everything kind of fell into place as soon as the show started, so I was happy about that.

Eugene: Well good! When was the last time you performed in the Bay Area?

Rachel: I was in Kiss Me, Kate. I did the national tour about five or six years ago and we were in San Francisco and Sacramento. I love this area and I'm looking forward to actually visiting San Francisco while I'm here, and San Jose.

Eugene: Tell me a little bit about your character, Guenevere?

Rachel: Well there are many different interpretations of Guenevere. If you happen to have read "Mists of Avalon," she's actually not very likeable in that. Some versions see her very vain. I see her as a woman who's truly torn and in love with two men. It's an incredibly painful position to be in because they're both magical in their own way and she's incredibly devoted to Arthur and doing everything in her power to uphold her marriage and the law. But her feelings for Lancelot are overwhelming and impossible to control. Lancelot awakens a romantic and sexual side of her nature that she's never known. My interpretation of her is she's a good woman trying to do what's right.

Eugene: These "magical men" that you perform with – Michael York (Arthur) and James Barbour (Lancelot) – what's it like on stage with them?

Rachel: It's wonderful. I really enjoy working with them. They're both consummate professionals. It's been a joy.

Eugene: How does it feel to be playing Guenevere, the role that was originated by Julie Andrews?

Rachel: It's wonderful! It's wonderfully ironic that I'm doing a role that a mentor of mine created.

Eugene: Yes, because you were with her in two shows (Putting It Together and Victor/Victoria)!

Rachel: Yes! I love Julie. She's been a mentor to me even before I met her! She was one of the voices that I studied as a child. She was somebody I looked up to and then of course, I got to meet her and know her on a personal level. She's given me a lot in my experience with her. She's taught me a lot – not only as an actress – but, I think, as a human being. Very gracious and I'm humbled.

Eugene: That is wonderful. You're very lucky. How did you even first get started in theatre?

Rachel: That would have gone way back into the Dinosaur Ages! [laughs] Well, I started dance classes when I was about 8 and I always sang with my mother. My mother would always play the piano and I remember singing Hello, Dolly! with her. But I never really thought about getting into the performing arts until I was 13. I was in choir and I realized that…maybe not everybody could sing! But oh! I've got something special here! I was a very shy child when I wasn't at home, and my voice helped me to come out of my shell. After that, I got the "acting bug." I kind of think of singing as my healing and acting as my passion. I was sort of a latch-key child. I was home alone a lot and to fill that time, I would study a lot of plays. And act them out to myself. I'd come home from school and sing for three hours. One of the musicals I would listen to over and over again was West Side Story. I would study the way Carol Lawrence placed her voice. I did the same with Julie Andrews, Barbra Streisand, Ella Fitzgerald. They were my voice teachers! And then fortunately, I had some really good choir teachers in school and professional vocal coaches. But for the most-part, I really probably owe a lot of my technique to certain artists who I listened to.

Eugene: That's really remarkable! I had the pleasure of seeing you in Dirty Rotten Scoundrels last summer. Was being Christine Colgate as fun as it looked?

Rachel: Oh it was a ball! There are some shows that are more demanding or certain roles that have you sing difficult songs, or cry, or scream, and they can be very exhausting… But Dirty Rotten Scoundrels was just a playground. [laughs] I had a lot of fun and Norbert Leo Butz and Jonathan Pryce were wonderful to work with and just had fun every night. And I think that's why the audience enjoyed it; because we just had fun!

Eugene: Yeah! Yeah! With all this fun that you have, many theatre fans appreciate your work because you are great with physical comedy and facial expressions, especially as Lucille Ball. Is this a special knack that you've always had or did you come-into-your-own with it?

Rachel: Gosh, I don't know! You know what it is? I don't think of it as "I'm doing comedy." I just think of getting into the head and the body and the feeling of that character or person. When I would watch Lucille Ball's comedy – not only did I do the research and I know how she worked and all that, which was a layer in what I was doing – but when you watch her TV show, there's a feeling that people get. I do as well. But I also sort of… absorb it? [laughs] I just sort of absorb that essence… It just seeps into my body and it's a texture… I can't explain it…

Eugene: That's fine. What do you remember feeling when you stepped onto the stage making your Broadway debut in City of Angels?

Rachel: Oh boy! I was… what's the expression? "Bright-eyed and bushy-tailed." [laughs] Everything… it was a dream. There's something really special about that. When that came about, I really prayed and worked so hard for that opportunity and when it came, it was miraculous to me. There's something so beautiful about experiencing the miraculous. There's something so beautiful about being in that place. When I went to work, I remember, on my first night… I stood back-stage and tried to take it all in. The feeling of the walls, the smell, just being in that moment. Enjoying it and embracing it. It really was a dream come true.

Eugene: What's it like creating a role like you did in City of Angels versus recreating a role like Guenevere?

Rachel: I'm a little more grounded now, that's for sure. I was very green and so much of my technique and performance was kind of based on faith. And I'm not talking about religious faith, but just faith. And trust. "May I not forget my lines! Please help me!" When I did City of Angels – and I'm remembering this as I'm talking to you…

Eugene: Fantastic…

Rachel: When I was in City of Angels before I went out, one of the things I used to do was say… And this was also in Putting It Together… I remember in Putting It Together, it was a much more difficult production for me because there was no script so I had nothing to base it on. I didn't get a lot of direction in that particular show. So a lot of times I would tell myself [laughs] I would say to either God or angels: "I go out there and you do the work!" [laughs] "Or carry me, because I am so afraid!" And I would just sort of imagine things, angels, people that I love in the audience and going out there and playing. And being up-lifted. I would get the response from people: "You're such a light on-stage." And interestingly enough, before I went on-stage, I'd say things like: "My angels! Angels, give me some light!" So on some level, it must have worked!

Eugene: [laughs] Aww…

Rachel: And now I have a lot of experience behind me. I had technique then and I used what I could, but there's so many nerves when you're first starting out. You're working so hard to overcome so many things. And after it becomes almost second-nature, I have so much life experience now. As an actress and as a human being. I really don't have to work so hard at it. I can go out on-stage and be everything that I've learned.

Eugene: Your portrayal of the legendary Lucille Ball is often described as "brave" and "courageous." What did it take personally and professionally to fill those shoes?

Rachel: You know at the time, I was in it: "I'm gonna do this!" But looking back I think "Oh my God! How did I do that?" I auditioned for the role about five times in two to three weeks. And I had about a month to prepare for the role, during Christmas time. You have to understand, as much as I love Lucille Ball and "I Love Lucy," I didn't know a lot about her. I had to do all of my research. I got a hold of every book and video on her comedy or her life. A couple of documentaries by Lucie Arnaz and Desi Arnaz Jr. were incredibly useful to me. All of this was strictly research, I was relying on them. We had about a week of rehearsal before we started shooting and they were still making script changes. I had to learn so much about Lucy in that time. The script was a good script, but there were just so many interesting parts of her life that were not included. They just kind of had to stick to the TV version of her life. Part of the time I was fighting to get some really interesting information about her.

Eugene: Like what?

Rachel: Well for instance, she had rheumatoid arthritis or something, nobody knew. For about a year after she was a model, she couldn't walk. She couldn't walk! These are interesting facts! Basically, at one point, it was like her grandfather was living on like, strawberries, with so little money. She found a way. She had an incredible will. She found a way to be as successful as she was. She fought tooth and nail every bit of her life. I think that's why later on, you saw her as a bitter woman. Not only because of her marriage with Desi – which made her bitter – but she fought. Perhaps with her comedy, that's when she could be a child without all of her responsibilities. That was her outlet. So I was absorbing her. I literally was brushing my teeth, eating, drinking Lucille Ball!

Eugene: That's work!

Rachel: I remember having dreams of her where I'd see every angle of her face and I'd play like she was talking to me in her dream, because I was absorbing so much information in such a short amount of time. We shot like 16-hour days in New Zealand. And on top of it, a lot of the crew was from Australia who do not know Lucille Ball as an American icon. "We have to have the Lucille Ball pony-tail… What are you talking about? I can't do this scene with her hair long!" You know, people memorize these scenes! People know exactly what she looked like. I was working really hard to honor this woman and her fans. We had to get it right. But so many decisions were made before I got on board. I was fighting so hard, which is fitting, because I know that's what Lucille Ball would have done. Funny because I don't think of myself as a "fighter." I guess a bit of Lucy's characteristics got in me off-screen as well as on! Because I know she had to fight to get all of these things. I sort of became a perfectionist on the set. I enjoyed the crew, producers, and directors. But there were some details that seemed insignificant to them but I know was important. It was probably the most difficult thing. I wanted it to be a tribute to Lucy… but it was a really good made-for-TV movie. That is just the "nature of the beast."

Eugene: Quite an undertaking.

Rachel: I was proud of the work I did. That's why it was "brave" and "courageous"! [laughs]

Eugene: You've been fortunate enough to have performed a wide-range of talented composers. Cole Porter, Sondheim, Rodgers and Hammerstein. Which music have you enjoyed the most and which composers would you like to showcase in the future?

Rachel: Unfortunately, I'll never be able to play Maria in West Side Story. [laughs] It's something I have to face. My dream role and I can't play it! But really, (outside of West Side Story) Lerner and Loewe. My Fair Lady, Camelot, Brigadoon. These are my favorite musicals. I mean it's so romantic! When you think of the song "Gigi," it's one of the most romantic and beautiful songs… the melodies that's never been written. I am incredibly proud to be doing a Lerner and Loewe musical. It just fills my heart to be able to sing their music.

Eugene: I have a few more questions but we can wrap this up…

Rachel: No! I'm enjoying it! It's a cathartic experience talking to you!

Eugene: Well I'm having a good time. [laughs] What's been the most rewarding experience for you as an actress or as a woman?

Rachel: There's been a lot of rewarding things for me. That's like asking: "What is the meaning of life?" which might be even easier! [laughs] What comes to mind as an actress – I am blessed and so grateful…

Eugene: Yeah, you've had so many great roles.

Rachel: I've had… oh gosh… I can't say that there's one. When I played Fantine, I remember hearing applause afterward and thinking: "Thank you. Thank you. But this journey has been my reward." I would say that to the audience, in my head, every night. I'm so glad they enjoyed it. That was the reward. When I did Norma Cassidy, it was a moment in time when I was on-stage and was: "Wow."It was an incredibly feeling of Zen and power or something. I had the audience in my hand. I could do anything and they would laugh. I could simply raise my shoulders or tilt my head to the right. We were connected to each other. The audience and I were one. It was almost a godly moment and humble as well. I guess what I mean by "godly" is that beautiful connection between the actor and the audience. Those are the two experiences that really, really stand out to me. As far as a person, I am so grateful to the people in my life. I feel truly supported and loved to the people close to me. I love them immensely. There's nothing more important than that.

Eugene: Outside of the theatre, how do you like to occupy your time?

Rachel: "Outside of the theatre…" I don't understand! [laughs] Well, something that I have aggressively wanted to change in my life – since I've played Lucy – and it's something perhaps Lucy taught me – is I really want to devote the majority of my time to the people in my life that I love. You know, pre-"Lucy," I was like Lucy. I was a perfectionist and I worked too hard and I never had any time for myself or for my family. And so I really made a point to spend valuable, precious short time with the people that I love. Everybody realizes this, as time goes on, you realize how short life is and how precious every moment is. I have a wonderful man in my life, Ayal Miodovnick, and I want to spend as much time with him as I can and with my family.

Eugene: That's wonderful. And this has been a really great interview. Thank you so much for your time. You're a very talented woman. It's been a privilege.

Rachel: Make me sound intelligent. Forget the "ums"! [laughs] Thank you very much, Eugene. It was a pleasure talking to you and really great questions and really thought-provoking. I appreciate that I had a cathartic experience.

Eugene: [laughs] Congratulations and break a leg with the rest of Camelot.

Rachel: All the best to you!