Interview: So Now You Know With Katy Grenfell

"A good anecdote should always be shared, because it's interesting!" said Sardi's Roundable Hostess and Producer Randie Levine-Miller. I read some really wonderful behind-the-sceens anecdotes on Broadway Actress Katy Grenfell's private Facebook page about a week ago where she lifted the curtain on her experiences in the 1997 Broadway show THE LIFE.

While the new Encores! version went in a different direction than the original, I found what Katy had to say, her first hand accounts, to be very interesting!

Looking back at the top notch creative team, amazing cast and iconic composer and lyricist team of Cy Coleman and Ira Gasman, Katy was gracious enough to expand and share her experiences with THE LIFE.

I was lucky enough to see the original version live - with Sam Harris holding that long note in "Use What You've Got" for what seemed like an eternity, Lillias White bringing down the house with her Tony Award winning version of "Oldest Profession", Katy's powerhouse voice blowing the back wall off of the theater in "My Body" and Chuck Cooper putting the fear of GOD in the audience with "Don't Take Much".

Here are some glimpses of the creative process that put magic on that Barrymore stage in 1997.

NA: What was your audition process like for the show? Did any of the creative team stand out to you during that process?

KG: They all stood out in some ways! My first audition was an open dance call, actually. I went in and fell in love with the attitude the show was going to have. Joey McKneeley was so much fun that day. He got in my face while we were dancing to see how I would react and I just gave him attitude right back. Later, when I sang for the team for the first time, it was all of them except for Cy Coleman. I was young and didn't realize who I was singing for: David Newman, Ira Gasman, and Michael Blakemore!! I stood back from the table as I have a powerful belt and Michael told me I could come closer. I told him it was probably better if I stood back then sang my 16 bars. Michael said, "You were right."

The callback was another dance call and this time I was able to stay and sing for Cy. After my 16 bars he just looked at Joey and said, "OK." Little did I know...

NA: Describe the rehearsal process. How long did you work on the show before previews? What is one experience that stands out to you from working with the outstanding team of choreographer Joey McKneely and director Michael Blakemore?

KG: We did a workshop first, for a backer's audition where a lot of Michael's touch came into play. We worked the script and altered songs, fleshed out roles, etc. It was great fun. For the Broadway run we rehearsed at BAM and at a recording studio in Manhattan for a while. I believe we had about 6 weeks of rehearsals prior to getting into the theater. Michael is so detailed in his approach to directing. He and I worked together to create a full character for Frenchie. He had me write a full background for her that he would go over, we would talk it through, he would make changes. He is the one who had me do the accent. I think I ended up with about 10 pages of character notes. It was absolutely amazing.

Joey always kept our characters front and center when he was choreographing, and really worked with us as people. At first I think I frustrated him a bit as it sometimes took me time to think about steps before they looked good in my movement. There came a day where he gave me something that I loved but he didn't like how it looked the first few times I did it. He went to change it and I just begged him for one day! To give me one day to get it before taking it away because I really liked it. He agreed, I think reluctantly, but when I came in the next day and did the dance he smiled and told me that from now on he would give me a day. He understands that people work differently and allows for that, which is special.

NA: When did the cast get to meet the producers and how did they interact with the ensemble?

KG: We met the producers right away. Marty and Roger were there on the first day of rehearsals, but they left us alone to do our work. They started showing up more once we were in the theater, but they were so kind and open! Marty would walk into the room and throw his arms around everyone, always laughing, always approachable. Roger appeared austere but was approachable and jovial. They really made us feel like part of a family, rather than keeping us at arm's length.

NA: The legendary duo of Cy Coleman and Ira Gasman wrote the music and lyrics for this show. How was it working with this incredible pair?

KG: Cy will forever be one of my favorite people. He and I got along really well, we made each other laugh easily. He was blunt as hell and loved to needle people, but always with a smile. We were having a tough time finding the right beginning for "My Body," trying different keys, alternate openings, etc. The best moment of my whole career happened during rehearsals in the theater when Cy and I went to the lobby piano and played around with the opening to the number. Just he and I singing and laughing, playing with music. It was incredible.

Ira was the sweetest, most unassuming man. He was very quiet most of the time, but man he made me giggle. Watching him and Cy work on the songs together, coming up with ways to make them suit us and tell the story better was fascinating. And he gave great hugs.

NA: Did anything crazy happen on opening night of the show?

KG: Opening night was a blur for me. My parents and sister came to the show as well as a few of my very close friends. I remember being dazed by the people at the party! I remember looking for a table or a seat and we couldn't find one, the place was packed. We finally saw someone getting up and headed in that direction, only to find out that it was Jerry Orbach! It was one of the few times in my life that I was starstruck. Everywhere you looked you saw Broadway legend after Broadway legend, all there for our show. They had a HUGE cake with the logo on it for us. It was the best opening night experience I've ever had.

NA: The cast of the Life was filled with incredible members. How did you all interact, grow and what is one memory that happened backstage that you'll never forget?

KG: We all got along pretty well, actually. You would think with so many strong personalities that there would be issues all over the place, but we really enjoyed each other. We had our moments like any cast or family, but for the most part we got along great. We created a trust within the show and we always had each other's back. Chuck and Lilias used to have their children at the show and we would all hang out. I used to give Lilli Cooper piggyback rides backstage! We were so close and open. We actually became friends with our beat cop, Don. He would come backstage and hang out and actually joined us on stage for an Easter Bonnet performance once. We all believed in the show and each other and it was special.

NA: Were there other people that worked at the Barrymore who's names were not in lights that were integral to the production's success?

KG: Everyone was integral to the show. Everyone who worked backstage, on stage, front of house... everyone. The people who really set the tone were our producers and stage management: Steve Zweigbaum, Àra Marx, Rolt Smith. They protected us and motivated us every day. And they played with us! We had great fun backstage because of how they ran the show.

NA: What was the experience like of performing on the TONY Awards?

KG: The Tony performance was spectacular for us. The night wasn't going our way overall, we had lost several awards to Titanic and we were in a mood about it. We went backstage to get ready and Judine really pumped us up, telling us to put it in the performance. So we did. Sam introduced the number and then 7 women took over Radio City Music Hall. Our energy was large enough to grab that entire audience and play it to the back row. We were so in sync and our energy was intense. It was so much fun.

NA: Looking back on the 1997 production, what bit of advice would you tell your 1997 self?

KG: Hahahahaha. Well, I would probably tell my 1997 self that I'm proud of her. That this show changed everything about how we feel about ourselves in the world and that we are going to be OK. I would definitely have told her to take those shoes from the show, though, lol. They were cute.

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