American Songbook at NJPAC Hosted by Michael Feinstein

FULL EPISODE

Seth Rudetsky and Christine Ebersole

The Sirius/XM Radio Host and Broadway icon team up for an entertaining evening of banter and songs relating to Ebersole's career and their mutual love of the Great White Way. Songs include Al Dubin and Harry Warren's "Lullaby of Broadway"; Lerner and Lowe's "Simple Joys of Maidenhood" and Stephen Sondheim's "Send in the Clowns".

AIRED: February 10, 2016 | 0:56:46
ABOUT THE PROGRAM
TRANSCRIPT

>> ♪ HOW ARE THINGS IN

GLOCCA MORRA?♪

>> COMING UP ON

"AMERICAN SONGBOOK AT NJPAC"...

>> ♪ IS THAT LITTLE BROOK STILL

LEAPIN' THERE? ♪

>> ...A UNIQUE CONVERSATION AND

PERFORMANCE BY TWO-TIME TONY

WINNER CHRISTINE EBERSOLE AND

SIRIUS RADIO HOST SETH RUDETSKY.

>> ♪ ...KILKERRY AND KILDARE

>> DID YOU EVER GET TO GO TO

GREY GARDENS?

>> I DID.

IT WAS REALLY KIND OF WILD TO

JUST BE WHERE "BIG EDIE" WOULD

PERFORM.

♪ IT'S MY MOTHER'S HOUSE, IN MY

MOTHER'S NAME ♪

♪ AND YOU CAN'T BEAT MOTHER AT

MOTHER'S GAME ♪

>> SETH TAKES CHRISTINE BEHIND

THE SCENES OF HER BIGGEST ROLES.

♪ SAINT GENEVIEVE,

SAINT GENEVIEVE ♪

>> PLEASE TALK ABOUT HOW YOU

WERE DOING "OKLAHOMA!" THEN YOU

WERE ASKED TO AUDITION FOR

LERNER AND LOEWE'S SHOW AND THE

CRAZINESS OF BROADWAY.

>> BARRY MOSS, THE CASTING

DIRECTOR, CAME UP TO ME AND

SAID, "WHAT WOULD YOU THINK

ABOUT PLAYING GUENEVERE OPPOSITE

RICHARD BURTON?"

I MEAN, I'M JUST ACTING VERY

CALMLY, BUT INSIDE I'M LIKE,

"OH, MY GOD, IT'S

RICHARD BURTON!"

>> YEAH!

>> ♪ COME ALONG AND LISTEN TO

♪ THE LULLABY OF BROADWAY

>> IT'S A JOYFUL MUSICAL JOURNEY

THROUGH EBERSOLE'S ILLUSTRIOUS

CAREER, CONDUCTED AS ONLY

RUDETSKY CAN.

>> ♪ THE RATTLE OF THE TAXIS

>> MAJOR SUPPORT FOR

"AMERICAN SONGBOOK AT NJPAC"

IS PROVIDED BY...

ADDITIONAL FUNDING HAS BEEN

PROVIDED THROUGH THE GENEROUS

SUPPORT OF...

AND NOW, FROM THE NEW JERSEY

PERFORMING ARTS CENTER IN THE

VICTORIA THEATER, YOUR HOST

TED CHAPIN.

>> WELCOME TO THE

"AMERICAN SONGBOOK AT NJPAC."

I CAN'T BELIEVE I'M ACTUALLY

INTRODUCING THIS MAN SINCE HE'S

MADE A CAREER OUT OF INTRODUCING

JUST ABOUT EVERYBODY ELSE IN THE

WORLD.

A PIANIST, A COACH, AN AUTHOR, A

RADIO PERSONALITY, A PRODUCER,

AND HE KNOWS JUST ABOUT

EVERYTHING THERE IS TO KNOW

ABOUT SONGS AND SINGERS -- HE'S

THE AFTERNOON HOST OF

"THE BROADWAY HOUR" ON

SiriusXM, AND HE HAS CARVED OUT

A UNIQUE NICHE FOR HIMSELF IN

THE WORLD OF AMERICAN SONG, SO I

THINK I'LL JUST TURN THIS OVER

TO SETH RUDETSKY.

[ CHEERS AND APPLAUSE ]

>> HELLO, SONGBOOK LOVERS!

I'M SETH RUDETSKY.

SO, THIS IS A SHOW THAT I'VE

BEEN DOING EVERYWHERE -- IN

PROVINCETOWN AND LONDON AND

PHILADELPHIA AND SAN FRANCISCO

AND NEW ORLEANS -- THE FORMAT OF

THE SHOW, WHICH IS SORT OF LIKE

"CHITTY-CHAT," SONG,

CHITTY-CHAT, SONG.

IT'S VERY SPONTANEOUS, AND

NOTHING IS PREPLANNED, AND IT'S

ALWAYS OFF THE CUFF.

SO WE'RE GONNA START WITH THE

SONG PART.

I'D LIKE TO INTRODUCE A WOMAN --

"A," SHE'S STUNNING, "B,"

AMAZING ACTRESS -- I'M TALKING

DRAMATIC AND COMEDIC -- HIGH

SOPRANO, YET BELT, NOT ONE TONY

AWARD -- TWO TONY AWARDS.

PLEASE WELCOME TO THE STAGE THE

AMAZING CHRISTINE EBERSOLE!

[ CHEERS AND APPLAUSE ]

[ PIANO PLAYS

"LULLABY OF BROADWAY" ]

>> HELLO, NEW JERSEY.

♪ COME ON ALONG AND LISTEN TO

♪ THE LULLABY OF BROADWAY

♪ THE HIP HOORAY AND BALLYHOO

♪ THE LULLABY OF BROADWAY

♪ THE RATTLE OF THE SUBWAY

TRAIN ♪

♪ THE RATTLE OF THE TAXIS

♪ THE DAFFODILS WHO ENTERTAIN AT

ANGELO'S AND MAXIE'S ♪

♪ WHEN A BROADWAY BABY SAYS GOOD

NIGHT ♪

♪ IT'S EARLY IN THE MORNIN'

♪ MANHATTAN BABIES DON'T SLEEP

TIGHT ♪

♪ UNTIL THE DAWN

♪ GOOD NIGHT, BABY

♪ GOOD NIGHT, MILK MAN'S ON HIS

WAY ♪

♪ SLEEP TIGHT, BABY

♪ SLEEP TIGHT, LET'S CALL IT A

DAY, HEY ♪

♪ COME ALONG AND LISTEN TO

♪ THE LULLABY OF BROADWAY

♪ THE HI-DE-HI AND WHOOP-DE-DO

♪ THE LULLABY OF BROADWAY

♪ THE BAND BEGINS TO PLAY

ALONG ♪

♪ AND EVERYONE GETS CRAZY

♪ YOU ROCK-A-BYE YOUR BABY

DOWN ♪

♪ TILL EVERYTHING GETS HAZY

♪ HUSH-A-BYE, I'LL BUY YOU THIS

AND THAT ♪

♪ YOU HEAR HER DADDY SAYIN'

♪ AND BABY GOES HOME TO HER

FLAT ♪

♪ TO SLEEP ALL DAY

♪ GOOD NIGHT, BABY

♪ GOOD NIGHT, MILK MAN'S ON HIS

WAY ♪

♪ SLEEP TIGHT, BABY

♪ SLEEP TIGHT

♪ LET'S CALL IT A DAY

♪ LISTEN TO THE LULLABY

♪ OF OLD BROADWAY

YEAH!

[ CHEERS AND APPLAUSE ]

>> CHRISTINE EBERSOLE, AND

THERE'S MORE OF THAT WHERE THAT

CAME FROM.

PLANT IT.

THAT HAD SOPRANO, THAT HAD JAZZ,

THAT HAD BELTING, THAT HAD

VIBRATO, BUT LET'S GO BACK.

OKAY, SO, THAT'S FROM

"42nd STREET," WHERE YOU WON

YOUR FIRST TONY AWARD.

>> THAT'S TRUE.

>> YOU'RE FROM THE MIDWEST.

>> I AM FROM WINNETKA, ILLINOIS.

>> ANYBODY?

>> OH, NO ONE.

OH, ONE PERSON. THAT'S GREAT.

YES.

I AM A BIG NOISE FROM WINNETKA.

>> HMM.

FIRST OF ALL, ARE YOU FROM

WINNETKA, OR YOU'RE JUST

APPLAUDING IF YOU'VE HEARD OF

IT?

>> I'VE BEEN THERE MANY TIMES.

>> NOT THE SAME THING, DEAR.

ANYHOO...

[ LAUGHTER ]

SO, WHEN YOU WERE GROWING UP --

THAT'S FROM "42nd STREET" -- WAS

YOUR BIG FANTASY, "ONE DAY I'M

GONNA BE ON '42nd STREET' ON

BROADWAY"?

>> WELL, I DECIDED THAT I WAS

GOING TO GO TO NEW YORK WHEN I

WAS 20 YEARS OLD, AND I GOT

ACCEPTED TO THE AMERICAN ACADEMY

OF DRAMATIC ARTS IN

NEW YORK CITY.

AND I WAS IN NEW YORK AT A TIME

WHEN WE WERE TOLD THAT BROADWAY

AND 42nd STREET WAS REALLY KIND

OF THE EPICENTER, YOU KNOW, OF

ONE'S ACHIEVEMENTS.

AND WE KNEW THAT, IF WE WORKED

ON BROADWAY AND 42nd STREET,

THAT WE REALLY HAD MADE IT.

I MEAN, I DIDN'T REALIZE AT THE

TIME THAT I WAS GONNA BE

STARRING IN BROADWAY ON

42nd STREET, IN "42nd STREET."

I JUST HAD NO IDEA.

>> JUST EVERY WORLD COLLIDED.

>> THAT'S WHAT WAS SO AMAZING

ABOUT IT.

BUT, YEAH, THAT WAS REALLY THE

THING THAT WE WERE TRYING TO --

THE GOAL THAT WE WERE TRYING TO

REACH.

AND IT WAS ALSO -- AT THE TIME,

WE WERE TOLD AT THE

AMERICAN ACADEMY THAT WE

PROBABLY SHOULDN'T WALK DOWN

42nd STREET.

[ LAUGHTER ]

SO THAT WAS A BIT OF A PUZZLE,

YOU KNOW, BECAUSE 42nd STREET,

AT THE TIME, WAS FILLED WITH

PEEP SHOWS AND PORNO HOUSES AND

FLEA CIRCUSES.

IT WAS A CESSPOOL OF

ENTERTAINMENT, LET ME TELL YOU.

[ CHUCKLES ]

>> NOW, YOU WERE IN THE MIDWEST.

SO WERE YOU ONE OF THOSE, LIKE,

EVER SINCE YOU WERE IN THIRD

GRADE, YOU ALWAYS PLAYED THE

LEADING ROLE IN ALL THE SHOWS?

YOU WERE THE MAMA ROSE?

>> NO, I WAS ACTUALLY -- I

ACTUALLY PLAYED THE VIOLIN IN

THE ORCHESTRA.

I DIDN'T START OUT IN THAT, BUT

I HAD --

>> WHEN DID YOU START SINGING?

DID YOU SING IN CHURCH OR

SOMETHING?

>> WELL, I ALWAYS SANG.

I ALWAYS JUST SANG GROWING UP.

MY FATHER HAS A RECORDING OF ME

SINGING "JINGLE BELLS"

COMPLETELY ON PITCH WHEN I WAS

THREE YEARS OLD.

>> OH, WAIT!

SHE PLAYED THAT IN A SHOW ONCE.

SHE'S THREE YEARS OLD, AND THEN

SHE SAID TO THE AUDIENCE, SHE

GOES, "AND THAT WAS RECORDED 75

YEARS AGO."

[ LAUGHTER ]

AND AT THE END OF THE SHOW, THIS

WOMAN WAS LIKE, "YOU LOOK

AMAZING FOR 78."

DO YOU REMEMBER, LIKE, DID NOT

GET THE JOKE?

>> OH, WELL.

>> [ LAUGHS ] IT'S ALL GOOD.

>> YOU CAN'T WIN IT ALL.

YEAH, SO, I STARTED OUT PLAYING

THE VIOLIN WHEN I WAS VERY

YOUNG, SEVEN YEARS OLD, AND I

PLAYED IN THE ORCHESTRA IN HIGH

SCHOOL.

AND WE WERE DOING A PRODUCTION

OF "FINIAN'S RAINBOW."

>> AH, PRETTY.

>> AND...

I WAS SO TAKEN WITH WHAT WAS

HAPPENING ONSTAGE THAT I PLAYED

THE VIOLIN DURING A NONMUSICAL

MOMENT.

[ LAUGHTER ]

AND MR. MAJORS JUST LOOKED OVER

AT ME JUST REALLY MAD.

BUT I KNEW AT THAT MOMENT I WAS

SO TAKEN BY WHAT WAS HAPPENING

WITH THE PERSON THAT WAS PLAYING

THE PART UP ONSTAGE THAT I

JUST -- I DIDN'T WANT TO BE IN

THE ORCHESTRA PIT ANYMORE.

I WANTED TO BE UP ONSTAGE

DOING...

>> ALL RIGHT, WELL, LET'S SING

THE SONG THAT YOU SHOULD'VE BEEN

SINGING ON THE STAGE.

>> ALL RIGHT.

>> IT'S FROM "FINIAN'S RAINBOW."

NOBODY PLAY THE VIOLIN AND

UPSTAGE HER.

[ LAUGHTER ]

[ PIANO PLAYS "HOW ARE THINGS IN

GLOCCA MORRA?" ]

>> ♪ I HEAR A BIRD

♪ A GLOCCA MORRA BIRD

♪ IT WELL MAY BE HE'S BRINGING

ME A CHEERY WORD ♪

♪ I HEAR A BREEZE

♪ A RIVER SHANNON BREEZE

♪ IT WELL MAY BE HE'S CALLING ME

ACROSS THE SEA ♪

♪ SO TELL ME PLEASE

♪ HOW ARE THINGS IN

GLOCCA MORRA? ♪

♪ IS THAT LITTLE BROOK STILL

LEAPIN' THERE? ♪

♪ DOES IT STILL RUN DOWN TO

DONNY COVE? ♪

♪ THROUGH KILLYBEGS, KILKERRY,

AND KILDARE ♪

♪ HOW ARE THINGS IN

GLOCCA MORRA? ♪

♪ IS THAT WILLOW TREE STILL

WEEPIN' THERE? ♪

♪ DOES THE LADDIE WITH A

TWINKLIN' EYE COME WHISTLIN'

BY? ♪

♪ AND DOES HE WALK AWAY SAD AND

DREAMY THERE NOT TO SEE ME

THERE? ♪

♪ SO I ASK EACH WEEPIN' WILLOW

AND EACH BROOK ALONG THE WAY ♪

♪ AND EACH LAD THAT COMES

A-WHISTLIN' TOORALAY ♪

♪ HOW ARE THINGS IN

GLOCCA MORRA ♪

♪ THIS FINE DAY?

[ CHEERS AND APPLAUSE ]

>> BEAUTIFUL. VERY CONTROLLED.

SHE HAS SUCH CONTROL OF HER

VOICE.

GOD, SO GREAT.

OKAY, SO, WE WERE TALKING ABOUT

ALL OF THE OLD AMAZING SHOWS

THAT CHRISTINE DID, AND, OF

COURSE, RODGERS & HAMMERSTEIN

SHE MENTIONED.

SHE ALSO DID A LERNER AND LOEWE

SHOW.

PLEASE TALK ABOUT HOW YOU WERE

DOING "OKLAHOMA!" THEN YOU WERE

ASKED TO AUDITION FOR LERNER AND

LOEWE'S SHOW AND THE CRAZINESS

OF BROADWAY.

>> WELL, I WAS IN A CLUB, AND

BARRY MOSS, THE CASTING

DIRECTOR, CAME UP TO ME AND

SAID, "WHAT WOULD YOU THINK

ABOUT PLAYING GUENEVERE OPPOSITE

RICHARD BURTON?"

I WAS LIKE, "Y-YEAH, YOU KNOW,

THAT MIGHT NOT BE TOO BAD."

SO, OF COURSE, THIS DATES ME,

BUT HE SAID, "WELL, COME UP TO

MY OFFICE AND GET THE MIMEOGRAPH

SIDES."

[ LAUGHTER ]

REMEMBER THAT MIMEOGRAPH

MACHINE?

>> AND SIDES ARE LIKE PARTS OF

THE SCRIPT.

>> YEAH, THE SIDES.

SO, I WENT TO HIS OFFICE, AND I

GOT THE SIDES, AND I WAS DOING

"OKLAHOMA!" AT THE TIME.

I WAS PLAYING ADO ANNIE IN

"OKLAHOMA!" AND I HAD JUST GIVEN

MY NOTICE, WHICH MEANS THAT I

HAD FOUR WEEKS OUT, SO FOUR

WEEKS BEFORE I COULD LEAVE THE

SHOW.

AND I BELIEVE IT WAS IN A THIRD

WEEK THAT I HAD ONE MORE WEEK TO

BE IN "OKLAHOMA!" AND I WENT TO

THIS AUDITION AND --

>> DID YOU HAVE TO SING?

>> YEAH, I HAD TO SING, AND I

HAD TO -- YOU KNOW, THERE WAS

THE GHOST LIGHT ON THE STAGE,

AND I'M ON THE STAGE, AND I'M

READING WITH A STAGE MANAGER.

>> ON BROADWAY, LIKE A BROADWAY

STAGE?

>> ON A BROADWAY STAGE, YEAH.

>> WOW.

>> AND I WAS READING WITH THE

STAGE MANAGER, AND THEN, ALL OF

A SUDDEN, I HEAR THIS VERY

MELLIFLUOUS -- JUST YOU COULDN'T

DENY WHO IT WAS.

I HEAR THIS VOICE COMING FROM

THE AUDIENCE, AND I HEARD

RICHARD BURTON SAY,

"[Deep voice] I WANT TO READ

WITH HER."

[ Normal voice ] YOU KNOW HOW HE

DID.

SO ALL OF A SUDDEN, MY LIFE JUST

BECAME IN SLOW MOTION.

I SEE THIS MAN COMING DOWN THE

STAIRS, THEN COMING UP ON THE

STAGE NEXT TO THE GHOST LIGHT.

AND HE HAS THESE BEAUTIFUL

STRIKING BLUE EYES, AND HE'S

WEARING THIS BLUE V-NECK

SWEATER, CASHMERE SWEATER.

AND HE GIVES ME A HUG, AND WE

START READING.

AND THERE'S THIS VOICE INSIDE OF

ME THAT'S -- YOU KNOW, I'M JUST

ACTING VERY CALMLY, BUT INSIDE

I'M LIKE, "OH, MY GOD, IT'S

RICHARD BURTON!"

>> YEAH! OF COURSE!

[ LAUGHTER ]

>> IT WAS CRAZY.

AND THEN, AFTER I AUDITIONED

WITH HIM, THEN THE PRODUCERS

CAME UP AND SAID, "WELL, KID CAN

YOU LEARN THE PART IN THREE

DAYS?

CAN YOU LEARN IT BY FRIDAY?"

I THOUGHT, "SURE, WHY NOT?"

YOU KNOW, I WAS YOUNG.

I DIDN'T KNOW ANY BETTER.

SO I FINISHED "OKLAHOMA!" SAID

GOODBYE TO EVERYBODY, PACKED MY

BAGS, WENT TO TORONTO ON MONDAY,

AND WE HAD WHAT'S CALLED A

"SITZPROBE" WHERE EVERYBODY SITS

DOWN AND THE ORCHESTRA'S PLAYING

AND YOU GO THROUGH THE MUSIC.

SO LUCKILY I KNEW THE MUSIC JUST

FROM GROWING UP AND LISTENING TO

IT.

AND SO WE SANG THE MUSIC, AND

THEN TUESDAY AND WEDNESDAY AND

THURSDAY WAS JUST BASICALLY

TECH.

SO THAT MEANS THEY'RE ADJUSTING

THE LIGHTS AND THE SOUND AND

THE -- I MEAN, IT'S JUST -- YOU

HAVE TO STAND THERE FOR HOURS AS

YOU'RE GOING THROUGH THE CUE,

FROM CUE TO CUE, THE LIGHTING --

>> YOU WEREN'T RUNNING THE SHOW.

>> NO, YOU WEREN'T RUNNING THE

SHOW AT ALL, JUST GOING FROM CUE

TO CUE.

>> 'CAUSE YOU WERE REPLACING

SOMEONE.

THEY HAD ANOTHER GUENEVERE,

RIGHT?

>> THEY HAD SOMEBODY ELSE, YEAH,

AND SO I REPLACED THIS OTHER

PERSON.

>> AI.

>> AND IT HAD NEVER BEEN IN

PRODUCTION, SO THIS WAS GOING TO

BE THE FIRST PLACE THAT IT WAS

GOING TO BE PREMIERING IN

TORONTO.

SO, IT WAS...

[ CHUCKLES ]

IT WAS THURSDAY NIGHT, I

GUESS...

AND IT WAS THE ONLY TIME, I

THINK, THAT WE WERE GONNA RUN

THROUGH THE SHOW.

>> OH, FINALLY. GOOD.

>> AND I STILL HADN'T HAD ALL MY

COSTUMES MADE EITHER BECAUSE THE

GIRL WHO WAS PLAYING THE PART

BEFORE ME WAS VERY SHORT, SO

THEY HAD TO REBUILD ALL THE

COSTUMES FOR ME.

SO THEY WEREN'T QUITE ALL DONE.

AND, YOU KNOW, THESE ARE THINGS

WITH LONG TRAINS, SO YOU HAVE TO

LEARN HOW TO WALK WITH THESE

LONG DRESSES WITH TRAINS.

SO, I REMEMBER, THURSDAY NIGHT,

RICHARD BURTON COMING TO MY

DRESSING ROOM AND SAYS,

"DARLING, YOU DON'T MIND -- THE

LIGHTS ARE KILLING ME.

YOU DON'T MIND IF I DON'T GO ON,

DO YOU?"

>> YES, I DO!

>> THE ONLY TIME THAT WE WERE

GONNA RUN THROUGH THE SHOW WAS

NOT WITH HIM, RIGHT?

SO, FRIDAY MORNING -- SO WE RUN

THROUGH THE SHOW FRIDAY MORNING.

>> OPENING DAY?

>> OPENING DAY, OPENING DAY.

>> I'M ANXIOUS.

>> WE GO TO -- I GO TO THE --

YOU KNOW, SO, WE WERE JUST DOING

AN ORCHESTRA WARM-UP OR

WHATEVER.

AND FRANZ ALLERS, THE WONDERFUL

CONDUCTOR, WAS CONDUCTING.

AND SO IT'S LIKE HE WAS THIS

GERMAN CONDUCTOR.

"[ German accent ] GOOD MORNING.

GOOD MORNING, CHRISTINE.

HOW ARE YOU DOING TODAY?

AND WE'LL START WITH

'THE SIMPLE JOYS OF MAIDENHOOD.'

[ Normal voice ] AND SO WE

START.

[ VOCALIZING ]

AND ALL OF A SUDDEN, I COULDN'T

REMEMBER ANYTHING.

BECAUSE DURING THE WEEK, WHILE

THEY WERE DOING THE TECH

REHEARSAL, I HAD MY FRIEND

ROBERT FOX, WHO WAS PLAYING

MORDRED IN THE SHOW, WE WOULD

SIT AT A TABLE, AND HE WOULD

LITERALLY GO THROUGH EVERY

SINGLE PART THAT I WASN'T -- THE

PART THAT I WASN'T PLAYING --

AND JUST CUE ME SO I COULD --

AND HE WOULD DO IT IN THE VOICE,

IN THE TYPE OF VOICE -- PROPER

ACCENT AND EVERYTHING -- SO I

REALLY GOT A PICTURE OF WHAT WAS

HAPPENING AND JUST DRILLED ME

AND DRILLED ME AND DRILLED ME

AND DRILLED ME.

SO, ON FRIDAY, I WAS SO

INUNDATED WITH THOSE THREE DAYS

JUST LEARNING THE PART, LEARNING

THE PART, AND LEARNING ALL THE

DANCE NUMBERS, AND LEARNING ALL

THIS -- EVERYTHING JUST IN THREE

DAYS.

SO FRIDAY, WHEN IT GOT TO THE

ORCHESTRA AND HE'S SAYING --

[ VOCALIZING ]

AND I...

"[ German accent ] ALL RIGHT,

WE'LL START AGAIN.

AND --

[ VOCALIZING ]

[ Normal voice ] LIKE, "OHH."

"[ German accent ] ALL RIGHT,

ONE MORE TIME."

[ VOCALIZING ]

"[ Normal voice, sobbing ] I

CAN'T REMEMBER ANYTHING."

>> REALLY "I LOVE LUCY."

>> [ Laughing ] SO SOMEBODY DOES

SOMETHING.

SO SOMEBODY JUST TOOK ME AND PUT

ME IN THIS DARK ROOM AND SAID,

"DON'T THINK ABOUT ANYTHING."

BECAUSE MY BRAIN WAS JUST IN

SUCH OVERLOAD THAT JUST -- IT

WAS LIKE, "NOT ONE MORE THING

ARE YOU GONNA PUT IN THERE."

SO I JUST LAID IN THIS DARK ROOM

FOR AWHILE, AND THEN IT WAS THE

OPENING NIGHT.

>> WHERE'S THE REHEARSAL?!

>> IT WAS OPENING NIGHT, AND IT

WAS ONE OF THOSE KIND OF THINGS

WHERE I WOULD COME OFFSTAGE AND

THEY'D SAY, "OKAY, THIS IS THE

NEXT SCENE YOU'RE DOING."

AND THEN THEY'D STRIP THE

COSTUME OFF ME AND PUT THE NEXT

THING ON, AND THEN I'D BE THROWN

BACK UP ONSTAGE.

IT WAS CRAZY.

BUT I THINK I AGREED TO DO IT

BECAUSE I WAS SO YOUNG.

YOU KNOW, I JUST DIDN'T -- I WAS

SO NAIVE.

I JUST DIDN'T HAVE ANY -- I WAS

LIKE, "OKAY, SURE."

>> WELL, LET'S SEE IF YOU STILL

REMEMBER IT.

>> OH.

>> HERE WE GO.

[ LAUGHTER ]

>> I'M NOT SURE.

[ PIANO PLAYS "THE SIMPLE JOYS

OF MAIDENHOOD" ]

>> ♪ SAINT GENEVIEVE,

SAINT GENEVIEVE ♪

♪ IT'S GUENEVERE, REMEMBER ME?

♪ SAINT GENEVIEVE,

SAINT GENEVIEVE ♪

♪ I'M OVER HERE BENEATH THIS

TREE ♪

♪ YOU KNOW HOW FAITHFUL AND

DEVOUT I AM ♪

♪ YOU MUST ADMIT I'VE ALWAYS

BEEN A LAMB ♪

♪ BUT, GENEVIEVE,

SAINT GENEVIEVE ♪

♪ I WON'T OBEY YOU ANYMORE,

YOU'VE GONE A BIT TOO FAR ♪

♪ I WON'T BE BID AND BARGAINED

FOR LIKE BEADS IN A BAZAAR ♪

♪ SAINT GENEVIEVE, I'VE RUN

AWAY, ELUDED THEM INSTEAD ♪

♪ AND FROM NOW ON, I INTEND TO

PRAY TO SOMEONE ELSE INSTEAD ♪

♪ OH, GENEVIEVE, SWEET

GENEVIEVE ♪

♪ WHERE WERE YOU WHEN MY YOUTH

WAS SOLD? ♪

♪ DEAR GENEVIEVE, SWEET

GENEVIEVE ♪

♪ SHAN'T I BE YOUNG BEFORE I'M

OLD? ♪

♪ WHERE ARE THE SIMPLE JOYS OF

MAIDENHOOD? ♪

♪ WHERE ARE ALL THOSE ADORING,

DARING BOYS? ♪

♪ WHERE'S THAT KNIGHT PINING SO

FOR ME? ♪

♪ HE LEAPS TO DEATH IN WOE FOR

ME ♪

♪ OH, WHERE ARE A MAIDEN'S

SIMPLE JOYS? ♪

♪ SHAN'T I HAVE THE NORMAL LIFE

A MAIDEN SHOULD? ♪

♪ SHALL I NEVER BE RESCUED IN

THE WOOD? ♪

♪ SHALL TWO KNIGHTS NEVER TILT

FOR ME ♪

♪ AND LET THEIR BLOOD BE SPILT

FOR ME? ♪

♪ OH, WHERE ARE THE SIMPLE JOYS

OF MAIDENHOOD? ♪

♪ SHALL I NOT BE ON A

PEDESTAL ♪

♪ WORSHIPPED AND COMPETED

FOR? ♪

♪ NOT BE CARRIED OFF, OR BETTER

STILL ♪

♪ CAUSE A LITTLE WAR?

♪ WHERE ARE THE SIMPLE JOYS OF

MAIDENHOOD? ♪

♪ ARE THOSE SWEET, GENTLE

PLEASURES GONE FOR GOOD? ♪

♪ SHALL A FEUD NOT BEGIN FOR

ME? ♪

♪ SHALL KITH NOT KILL THEIR KIN

FOR ME? ♪

♪ OH, WHERE ARE THE SIMPLE JOYS,

HARMLESS, CONVIVIAL JOYS? ♪

♪ WHERE ARE THE SIMPLE JOYS

♪ OF MA-A-ID-E-E-E-NHOOD?

[ CHEERS AND APPLAUSE ]

>> YOU REMEMBERED!

>> FOR THE MOST PART.

>> [ CHUCKLES ]

>> [ LAUGHS ]

>> WELL DONE.

I GUESS WE JOINED CHRISTINE'S

CAREER KIND OF IN THE MIDDLE OF

HER BROADWAY CAREER.

GO BACK TO YOUR VERY FIRST

BROADWAY SHOW YOU EVER DID.

YOU NEVER DID OFF-BROADWAY.

YOU WENT RIGHT TO BROADWAY,

RIGHT?

>> WELL, ACTUALLY, I WAS --

AFTER I GRADUATED FROM THE

AMERICAN ACADEMY, I BECAME A

WAITRESS AT THE LION'S ROCK ON

77th, BETWEEN FIRST AND SECOND.

I THINK IT'S NOW CONDOMINIUMS.

BUT OF COURSE, I HAD NEVER

WAITED TABLES BEFORE, SO I HAD

TO KIND OF -- I HAD TO LIE MY

WAY INTO GETTING THE JOB, BUT HE

BELIEVED ME.

BUT HE COULD FIND OUT VERY SOON

ENOUGH THAT I DIDN'T KNOW

ANYTHING ABOUT WAITING TABLES.

I DIDN'T KNOW HOW TO STACK

PLATES, I DIDN'T KNOW HOW TO

TAKE DRINK ORDERS -- NOTHING.

BUT THEY WERE VERY PATIENT AND

VERY NICE WITH ME.

BUT I HAD GOTTEN -- WHEN I WAS

AT THE AMERICAN ACADEMY, I HAD

GOTTEN AN AGENT.

AND I HAD GONE ON A FEW

AUDITIONS AND MEETINGS WITH

PEOPLE, AND I MET WITH

SHEPARD TRAUBE, WHO WAS

PRODUCING A PLAY -- A REVIVAL OF

"ANGEL STREET" WITH

DINA MERRILL, STARRING

DINA MERRILL, IN 1976.

BUT HE ALREADY HAD HIRED ALL THE

PLAYERS.

>> "ANGEL STREET" IS LIKE THE

MOVIE "GASLIGHT."

>> YEAH, THAT THE MOVIE

"GASLIGHT" WAS BASED ON, WHICH

THE PART THAT I ENDED UP PLAYING

WAS ANGELA LANSBURY'S FIRST FILM

ROLE.

AND SO, I WAS WAITING TABLES ONE

NIGHT, AND I'D JUST GOTTEN HOME

FROM WAITING TABLES, AND MY

AGENT CALLED ME.

SHE SAYS, "DARLING, YOU'RE ON

BROADWAY."

I THOUGHT, "WHAT?"

BECAUSE WHAT HAPPENED WAS THAT

CHRISTINE ANDREAS, WHO WAS

PLAYING THE ROLE, HAD GOTTEN

"MY FAIR LADY."

SO SHE HAD TO LEAVE THE SHOW, SO

THEY NEEDED A REPLACEMENT.

SO IT WAS REALLY ONE OF THOSE

KIND OF THINGS OF, LIKE, YOU

KNOW, YOU GO BACK TO WAITING

TABLES LIKE, "WELL, I GOT TO

LEAVE YOU LITTLE PEOPLE.

THE GREAT WHITE WAY CALLS, YOU

KNOW?"

AND OF COURSE, THE SHOW CLOSED

IN THREE WEEKS, AND I WAS BACK

[Laughing] BEGGING FOR MY JOB.

>> JUST WENT BUST ON YOU.

>> "PLEASE TAKE ME BACK."

SO IT WAS A VERY HUMBLING

EXPERIENCE, TO SAY THE LEAST.

BUT IT WAS QUITE A THRILL.

>> OF COURSE IT WAS.

>> AND THEN THE PRODUCER HAD TO

BUY MY EQUITY CARD.

I MEAN, I WAS JUST -- I WAS A

WAITRESS.

>> SO YOU WENT FROM A WAITRESS

JUST TO EQUITY?

>> TO BROADWAY, TO BACK TO

WAITING TABLES.

[ LAUGHTER ]

>> OKAY, SO, IRONICALLY, WE WERE

SINGING "WHERE ARE THE SIMPLE

JOYS OF MAIDENHOOD?" BUT

CHRISTINE IS NOT A MAIDEN.

CHRISTINE IS MARRIED TO A

MUSICIAN, BILL.

BUT I DON'T EVEN KNOW HOW YOU

GUYS MET.

DID YOU MET AT A BAND?

'CAUSE HE'S A DRUMMER.

>> WE MET IN HOLLYWOOD ON THE

PARAMOUNT LOT.

WE WERE BOTH INVOLVED IN A SHOW

CALLED "THE CAVANAUGHS."

>> A TV SHOW.

>> A TV SHOW CALLED

"THE CAVANAUGHS" ABOUT AN IRISH

CATHOLIC FAMILY STARRING THE

LATE GREAT BARNARD HUGHES.

AND BILL WAS THE MUSICAL

DIRECTOR, AND I WAS THE ACTOR IN

THE SHOW.

AND WE FELL IN LOVE AND GOT

MARRIED.

>> DID HE ASK YOU OUT?

DID YOU ASK HIM OUT?

WHAT HAPPENED?

>> WELL, NO, HE ASKED ME OUT.

OUR FIRST DATE WAS A LITTLE

FRENCH BISTRO IN THE

SAN FERNANDO VALLEY.

WE HAD A TABLE FOR TWO

OVERLOOKING THE FREEWAY.

[ LAUGHTER ]

AND, YOU KNOW, WE ORDERED

SOMETHING FRENCH FROM THE MENU,

SAN FERNANDO VALLEY-STYLE.

BUT I GUESS IT WAS DURING THE

MAIN COURSE WHEN BILL SAID THOSE

FOUR LITTLE WORDS THAT EVERY

STARRY-EYED GIRL LONGS TO HEAR,

AND I KNEW IN THAT MOMENT THAT

WE WERE DESTINED TO SPEND THE

REST OF OUR LIVES TOGETHER.

HE LOOKED AT ME ADORINGLY, AND

HE SAID, "LET'S TALK ABOUT YOU."

[ LAUGHTER ]

>> OKAY, THAT'S A PERFECT SEGUE.

LET'S GO.

>> [ LAUGHS ]

>> THAT'S AMAZING.

>> MY "G" SPOT.

[ BOTH LAUGH ]

[ PIANO PLAYS "BILL" ]

27 YEARS LATER...

I USED TO DREAM THAT I WOULD

DISCOVER THE PERFECT LOVER

SOMEDAY.

I KNEW I'D RECOGNIZE HIM

WHENEVER HE CAME 'ROUND MY WAY.

I ALWAYS USED TO FANCY THEN HE'D

BE ONE OF THOSE GODLIKE KIND OF

MEN, WITH A GIANT BRAIN AND A

NOBLE HEAD...

♪ LIKE THE HEROES BOLD IN THE

BOOKS I READ ♪

♪ THEN ALONG CAME BILL

♪ WHO'S NOT THAT TYPE AT ALL

♪ YOU'D MEET HIM ON THE STREET

AND NEVER NOTICE HIM ♪

♪ HIS FORM AND FACE, HIS MANLY

GRACE ♪

♪ ARE NOT THE KIND THAT YOU

WOULD FIND IN A STATUE ♪

♪ AND I CAN'T EXPLAIN

♪ IT'S SURELY NOT HIS BRAIN THAT

MAKES ME THRILL ♪

♪ I LOVE HIM BECAUSE HE'S

WONDERFUL ♪

♪ BECAUSE HE'S JUST MY BILL

♪ HE CAN'T PLAY GOLF OR TENNIS

OR POLO OR SING A SOLO OR ROW ♪

♪ HE ISN'T HALF AS HANDSOME AS

DOZENS OF MEN THAT I KNOW ♪

WELL, THAT PART'S NOT TRUE.

♪ HE ISN'T TALL OR STRAIGHT OR

SLIM ♪

♪ AND HE DRESSES FAR WORSE THAN

TED OR JIM ♪

♪ AND I CAN'T EXPLAIN WHY HE

SHOULD BE ♪

♪ JUST THE ONE, ONE MAN IN THE

WORLD FOR ME ♪

♪ HE'S JUST MY BILL

♪ AN ORDINARY BOY

♪ HE HASN'T GOT A THING THAT I

CAN BRAG ABOUT ♪

♪ AND YET TO BE UPON HIS KNEE

♪ SO COMFY AND ROOMY, FEELS

NATURAL TO ME ♪

♪ AND I CAN'T EXPLAIN

♪ IT'S SURELY NOT HIS BRAIN THAT

MAKES ME THRILL ♪

♪ I LOVE HIM

♪ BECAUSE HE'S...

[ SIGHS ] I DON'T KNOW.

♪ BECAUSE HE'S JUST

♪ MY-Y BI-I-I-I-I-I-LL

[ CHEERS AND APPLAUSE ]

♪ I ADD TWO AND TWO, THE MOST

SIMPLE ADDITION ♪

♪ AND SWEAR THAT THE FIGURES ARE

LYING ♪

♪ I'M A MUCH BETTER COMIC THAN

MATHEMATICIAN ♪

♪ 'CAUSE I'M BETTER ONSTAGE THAN

AT INTERMISSION ♪

♪ AND AS FAR AS THE MAN IS

CONCERNED ♪

♪ IF I'VE BEEN BURNED

♪ I HAVEN'T LEARNED

♪ I KNOW HE'S AROUND

♪ WHEN THE SKY AND THE GROUND

START IN RINGING ♪

♪ I KNOW THAT HE'S NEAR

♪ BY THE THUNDER I HEAR IN

ADVANCE ♪

♪ HIS WORDS AND HIS WORDS

ALONE ♪

♪ ARE THE WORDS THAT CAN START

MY HEART SINGING ♪

♪ 'CAUSE HIS IS THE ONLY MUSIC

THAT MAKES ME DANCE ♪

♪ HE'LL SLEEP, AND HE'LL RISE

♪ BY THE LIGHT OF TWO EYES THAT

ADORE HIM ♪

♪ BORE HIM IT MIGHT

♪ BUT HE WON'T LEAVE MY SIGHT AT

A GLANCE ♪

♪ IN EVERY WAY, EVERY DAY

♪ I NEED LESS OF MYSELF, I NEED

MORE HIM ♪

♪ MORE HIM

♪ 'CAUSE HIS IS THE ONLY MUSIC

THAT MAKES ME DA-A-A-A-NCE ♪

♪ IN EVERY WAY, EVERY DAY

♪ I NEED LESS OF MYSELF, I NEED

MORE HIM ♪

♪ MORE HIM

♪ 'CAUSE HIS IS THE ONLY MUSIC

THAT MAKES ME DANCE ♪

♪ YES, HIS IS THE ONLY MUSIC

THAT MAKES ME DA-A-A-A-A-NCE ♪

[ CHEERS AND APPLAUSE ]

THANK YOU.

>> ALL RIGHT, SO, I'M FASCINATED

BY CHRISTINE'S CAREER BECAUSE

SHE REALLY HAS DONE EVERYTHING

AND THINGS THAT KIND OF PEOPLE

CAN'T EVEN BELIEVE.

DID YOU KNOW CHRISTINE EBERSOLE

WAS A CAST MEMBER -- FULL CAST

MEMBER -- ON

"SATURDAY NIGHT LIVE"?

IS THAT AMAZING?

[ APPLAUSE ]

SO, EVERYONE I KNOW HAD TO GO TO

THE AUDITION WHERE YOU DO THREE

CHARACTERS AND THEY DON'T LAUGH,

THEN THEY GLARE AT YOU, AND THEN

YOU GET IT.

WHAT DID YOU -- HOW DID YOU GET

IT?

>> WELL, I JUST HAD COME OFF THE

ROAD, DOING "CAMELOT" WITH

RICHARD BURTON AND THEN

RICHARD HARRIS BECAUSE

RICHARD BURTON HAD GOTTEN ILL

SO...

>> WOW.

>> I MEAN, I HAD COME FROM THAT

WORLD, THAT BROADWAY WORLD, AND

THEN I WAS KIND OF JUST -- YOU

KNOW, TO AUDITION FOR SOMETHING

THAT REALLY INVOLVES A LOT OF

IMPROV, WHICH WAS NOT FROM -- I

JUST DIDN'T KNOW ANYTHING ABOUT

IMPROV.

BUT I THINK WHAT THE REASON WHY

I GOT HIRED WAS BECAUSE

DICK EBERSOL...

I'M SURE WE'RE RELATED SOMEWHERE

BACK IN SWITZERLAND, BUT HE

DROPPED THE "E."

>> OH, OKAY, HE WAS A PRODUCER,

BUT NOT --

>> HE WAS THE PRODUCER OF

"SATURDAY NIGHT LIVE."

BUT I THINK THE REASON WHY HE

HIRED ME WAS BECAUSE HE WANTED

TO ADD MUSIC TO

"SATURDAY NIGHT LIVE," AND I

THINK THAT THAT'S -- YOU KNOW, I

THINK, IN A WAY, IN THE END,

THAT'S HOW I FELT THAT I COULD

REALLY CONTRIBUTE WAS THROUGH

THE MUSIC.

>> ALL RIGHT, ANYWAY, SO,

CHRISTINE AND I HAVE DONE 8,000

CRUISES TOGETHER.

WE'RE ACTUALLY ON OUR WAY TO

VIETNAM ON THE PLAYBILL CRUISE.

AND THIS NEXT SONG IS DEDICATED

TO ONE OF OUR EXCURSIONS DOWN --

WE WERE DOWN IN SOUTH AMERICA

FOR A WEEK, SO WE'RE GONNA GIVE

YOU SOME LATIN SASS.

[ PIANO PLAYS

"THE BOY FROM..." ]

>> ♪ TALL AND SLENDER LIKE AN

APOLLO ♪

♪ HE GOES WALKING BY, AND I HAVE

TO FOLLOW HIM ♪

♪ THE BOY FROM TACAREMBO LA

TUMBE DEL FUEGO SANTA MALIPAS

ZACATECAS LA JUNTA DEL SOL Y

CRUZ ♪

♪ WHEN WE MEET, I FEEL I'M ON

FIRE ♪

♪ AND I'M BREATHLESS EVERY TIME

I INQUIRE ♪

♪ HOW ARE THINGS IN TACAREMBO LA

TUMBE DEL FUEGO SANTA MALIPAS

ZACATECAS LA JUNTA DEL SOL Y

CRUZ? ♪

♪ WHY IS HE ACTING SO

CLANNISH? ♪

♪ OOH, OOH-OOH-OOH, OOH, OOH

♪ WHY, WHEN I SPEAK, DOES HE

VANISH? ♪

♪ OOH, OOH-OOH-OOH, OOH, OOH

♪ I WISH I UNDERSTOOD SPANISH

♪ WHEN I TELL HIM I THINK HE'S

THE END ♪

♪ HE GIGGLES A LOT WITH HIS

FRIEND ♪

♪ TALL AND SLENDER, MOVES LIKE A

DANCER ♪

♪ BUT I NEVER SEEM TO GET ANY

ANSWER ♪

♪ FROM THE BOY FROM TACAREMBO LA

TUMBE DEL FUEGO SANTA MALIPAS

ZACATECAS LA JUNTA DEL SOL Y

CRUZ ♪

♪ I GOT THE BLUES

♪ WHY ARE HIS TROUSERS

VERMILION? ♪

♪ HIS TROUSERS ARE VERMILION

♪ WHY DOES HE SAY HE'S

CASTILIAN? ♪

♪ [ Lisping ] HE SAYS HE'S

CASTILIAN ♪

♪ [ Normal voice ] WHY DO HIS

FRIENDS CALL HIM...LILLIAN? ♪

♪ AND I HEAR, AT THE END OF THE

WEEK ♪

♪ HE'S LEAVING TO START A

BOUTIQUE ♪

♪ THOUGH I SMILE, I'M ONLY

PRETENDING ♪

♪ 'CAUSE I KNOW TODAY'S THE LAST

I'LL BE SPENDING ♪

♪ WITH THE BOY FROM TACAREMBO LA

TUMBE DEL FUEGO SANTA MALIPAS

ZACATECAS LA JUNTA DEL SOL Y

CRUZ ♪

♪ TOMORROW, HE SAILS

♪ HE'S MOVING TO WALES

♪ TO LIVE IN

LLANFAIRPWLLGWYNGYLLGOGERYCHWYR

NDROBWLLLLANTYSILIOGOGOGOCH ♪

[ LAUGHTER ]

♪ OH

[ FLOURISH ]

[ APPLAUSE ]

>> OKAY.

SO, OF COURSE, THE SHOW WOULD

NOT BE COMPLETE UNTIL WE DISCUSS

CHRISTINE EBERSOLE'S BRILLIANT

STAR TURN IN "GREY GARDENS."

[ CHEERS AND APPLAUSE ]

I KNOW.

I SAW IT THREE TIMES.

SO, I ASSUME THE SHOW WAS

WRITTEN FOR YOU, DEAR.

>> IT HAD ME IN MIND.

IT DEFINITELY DID.

>> THE SHOW ITSELF, OR THE

WRITERS?

>> THE WRITERS, YEAH.

BECAUSE --

>> DID YOU PITCH IT TO THEM?

DID YOU SAY, "I'D BE GOOD FOR

THIS ROLE"?

>> OH, HEAVENS NO.

I HAD NO IDEA. CAN YOU IMAGINE?

I MEAN, WHO WOULD EVER THINK

THAT A DOCUMENTARY ABOUT THE

BOUVIERS WOULD END UP AS A

MUSICAL?

IT'S THE LAST THING YOU'D THINK

ABOUT.

BUT I WAS ABSOLUTELY FASCINATED

AND THRILLED AND OBSESSED WITH

THE...

WITH THE DOCUMENTARY --

>> 'CAUSE YOU'D BEEN WATCHING IT

YOUR WHOLE ADULT LIFE?

>> I JUST WAS WATCHING IT OVER

AND OVER AND OVER AGAIN, NOT

KNOWING THAT, ONE DAY, IT WAS

GOING TO BECOME A MUSICAL.

BUT THEN I DID GET A CALL ABOUT

IT, AND WE WENT TO A WORKSHOP IN

WHITE OAK, FLORIDA.

AND WE WERE THERE FOR TWO WEEKS,

AND THE SECOND ACT HAD NOT BEEN

WRITTEN, AND MANY OF THE SONGS

HAD NOT BEEN WRITTEN.

AND I THINK SCOTT FRANKEL...

>> THE COMPOSER.

>> THE COMPOSER UNDERSTOOD...

HE WROTE IT ACCORDING TO MY

ABILITY.

>> BUT WHEN YOU SAY THE SECOND

ACT WASN'T WRITTEN, THE FIRST

ACT IS WHEN YOU PLAY BIG EDIE.

>> MM-HMM. IN 1941, I BELIEVE.

>> SO THAT WAS A TOTALLY

ORIGINAL CHARACTER, SO YOU WERE

NOT EVEN BASING THAT ON WHAT

YOU'D SEEN IN THE DOCUMENTARY.

>> NO, THAT HAD TO REALLY BE

MORE IMAGINED, I THINK.

>> SO THEY DIDN'T EVEN KNOW THAT

YOU -- 'CAUSE YOU REALLY, IT

SEEMED LIKE -- IF YOU'VE SEEN

THE MUSICAL, IT'S LIKE SHE'S

LITERALLY CHANNELING

"LITTLE EDIE."

I MEAN, IT'S FREAKISH.

SO THEY DIDN'T EVEN KNOW HOW

BRILLIANT YOU'D BE AS

LITTLE EDIE WHEN YOU'D DONE THE

WORKSHOP?

>> NO, WE DID END UP -- YOU

KNOW, IN THOSE TWO WEEKS, THEY

WROTE ACT TWO.

>> OH, WHILE YOU WERE THERE.

>> YEAH.

>> DESCRIBE WHO THE BOUVIERS

WERE.

>> THE BOUVIERS WERE RELATED TO

JACKIE KENNEDY.

BIG EDIE AND JACKIE'S FATHER

WERE BROTHER AND SISTER.

SO THEY WERE PART OF -- YOU

KNOW, JACKIE BOUVIER KENNEDY --

THEY WERE PART OF THE CLAN.

AND APPARENTLY, THE WAY THE

STORY GOES WAS LEE RADZIWILL --

WHO WAS JACKIE'S SISTER --

WANTED TO DO A DOCUMENTARY ABOUT

THE BOUVIERS.

AND WHEN THE MAYSLES BROTHERS

CAME UPON THIS VERY DILAPIDATED

MANSION THAT THESE TWO WOMEN

WERE LIVING IN THAT HAD ONCE

BEEN IN HIGH SOCIETY AND NOW WAS

THESE COMPLETELY OVERRUN,

DILAPIDATED HOUSE, THAT THEY

KNEW THAT THEY HAD FOUND THE

STORY.

THEY FOUND THE REAL STORY.

>> OF WOMEN THAT WERE IN HIGH

SOCIETY AND NOW WERE BASICALLY

HOARDERS AND LIVING IN TOTAL

ISOLATION.

NOW, DID YOU EVER GET TO GO TO

GREY GARDENS?

>> I DID.

>> [ GASPS ]

>> I WAS INVITED TO GREY GARDENS

FOR BEN BRADLEE'S 85th BIRTHDAY

PARTY.

>> DID YOU GO AS LITTLE EDIE?

>> [ Laughing ] NO.

BUT IT WAS REALLY EX-- I MEAN,

IT WAS REALLY KIND OF WILD TO

JUST BE IN THE PARLOR WHERE

BIG EDIE WOULD PERFORM.

BECAUSE THAT'S REALLY THE ONLY

PLACE THAT SHE COULD SING WAS IN

HER HOUSE, YOU KNOW, FOR TEA

PARTIES AND THINGS LIKE THAT.

YOU KNOW, SHE NEVER DID IT

PUBLICLY.

>> SO, OKAY, WE'RE GONNA DO THE

SONG FROM THE SECOND ACT, WHERE

SHE'S LITTLE EDIE NOW.

AND WHY DON'T YOU DESCRIBE HOW

"AROUND THE WORLD" -- WHAT'S

HAPPENING DURING IT AND WHY

SHE'S SINGING IT.

>> WELL, I THINK THAT

LITTLE EDIE IS ALWAYS GRAPPLING

WITH WANTING FREEDOM, BUT SHE'S

REALLY CONFINED.

YOU KNOW, SHE HAS THIS LOYALTY

TOWARDS HER MOTHER BUT YET WANTS

TO BE FREE OF IT.

AND SO THIS IS SORT OF THE TRAP

THAT SHE'S IN.

SHE CAN'T SEEM TO GET -- SHE

CAN'T GET OUT.

SHE CAN'T GET OUT.

>> AND HER VOICE, TO ME -- IF

YOU HEAR IT, HER VOICE BEGINS

LIKE -- CHRISTINE SOUNDS LIKE

LITTLE EDIE AT THE BEGINNING,

BUT THEN HER VOICE BECOMES,

LIKE, STUNNING.

SO HOW DO YOU SORT OF -- WHAT'S

THE REASON FOR WHY THE VOICE

GETS SO BEAUTIFUL, SO PRETTY?

>> WELL, THE WAY I SORT OF SAW

IT WAS THAT LITTLE EDIE WAS NOT

A GREAT SINGER SO THAT, WHEN IT

WAS PRESENTATIONAL, WHEN SHE WAS

BREAKING THE FOURTH WALL AND

SPEAKING TO THE AUDIENCE, IT WAS

MORE IN THE LITTLE EDIE VOICE.

BUT THEN, WHEN INTERNAL, I JUST

FELT THAT THE INTERNAL

EXAMINATION, WHAT I WAS FEELING

INTERNALLY, THAT THAT COULD

TRANSCEND THE LIMITATIONS OF

EDIE'S VOICE.

>> OH, I LOVE IT -- SO "ACTORY."

OKAY, SO WE'RE GONNA DO THIS

SONG.

[ PIANO PLAYS

"AROUND THE WORLD" ]

>> ♪ IT'S MY MOTHER'S HOUSE, IN

MY MOTHER'S NAME ♪

♪ AND YOU CAN'T BEAT MOTHER AT

MOTHER'S GAME ♪

♪ SHE LIKES THE PEOPLE WHO I

DON'T LIKE ♪

♪ AND IF I DON'T LIKE IT, IT'S

"TAKE A HIKE" ♪

♪ WHICH IS MOTHER'S WAY OF

REMINDING ME ♪

♪ WHEN YOU LIVE OFF MOTHER, YOU

CAN'T BE FREE ♪

♪ AND I THINK THAT MOTHER IS

VERY MEAN ♪

AND THIS LATEST THING WITH

THIS WASHING MACHINE, THE ONE

JERRY BROUGHT -- DON'T BE TOO

SURPRISED IF THE GUY MOVES IN

AND I'M PULVERIZED.

'CAUSE I'LL BE DAMNED IF I'M

GONNA WASTE MY TIME WASHING

CLOTHES IN A GODDAMN MACHINE.

I FEEL VERY STRONGLY ABOUT

MEMENTOS...

MEMORABILIA I GUESS YOU CALL IT.

♪ AROUND THE WORLD IS WHAT I

CALL MY WALL OF SPECIAL THINGS ♪

♪ AROUND THE WORLD WITH ROSE

BOUQUETS I DRIED AND TIED ON

STRINGS ♪

♪ A SILVER MASK FROM A

MASQUERADE, AROUND AND 'ROUND I

TWIRLED ♪

♪ YOU TACK THEM UP SO YOU CAN

TWIRL AROUND THE WORLD ♪

♪ IT'S MY MOTHERS HOUSE, WITH MY

MOTHER'S FRIENDS ♪

♪ AND WITH JERRY COMING, IT

NEVER ENDS ♪

IT'S THE SAME OLD STORY AS

GEORGE GOULD STRONG.

NOT IN 20 YEARS DID WE GET

ALONG.

THOUGH I DO FEEL BAD FOR THE WAY

HE DIED, IN A TWO-BIT FLEA BAG,

A SUICIDE.

IT WAS MOTHER'S MONEY, THE

BOUVIERS'.

AND IF MOTHER SPENT IT IN CRAZY

WAYS, NO ONE ELSE TOOK CARE OF

HER, ONLY ME.

SHE WAS TAKEN CARE OF, NOT

SEXUALLY.

AND IF YOU INFER THAT THEY WERE

USING HER, I WILL SHOVE YOU

RIGHT UNDER THE GODDAMN BED!

[ MUSIC STOPS ]

♪ AROUND THE WORLD WITH STONES

AND SHELLS ♪

♪ THE NICEST ONE I LOST

♪ AROUND THE WORLD WITHOUT A

BOAT ON JUST A QUOTE FROM

FROST ♪

♪ "TWO ROADS DIVERGED IN A

YELLOW WOOD," A LOVELY CROSSING

ON ♪

♪ AROUND THE WORLD, THE WORLD

AROUND THE ATTIC WALL ♪

♪ AROUND THE WORLD THERE ISN'T

ROOM FOR EVERY SPECIAL THING ♪

♪ AROUND THE WORLD, YOU CHOOSE A

FEW TO MAKE THE MUSIC SING ♪

♪ A SILVER MASK FROM A

MASQUERADE, AROUND AND 'ROUND I

TWIRLED ♪

♪ YOU TACK THEM UP SO, WHEN YOU

GO, THE WORLD WILL BE THE ONE

YOU KNOW ♪

♪ A BIRDCAGE I PLAN TO HANG,

I'LL GET TO THAT SOMEDAY ♪

♪ A BIRDCAGE FOR A BIRD WHO FLEW

AWA-A-A-A-A-A-A-Y ♪

♪ AROUND THE WO-O-O-O-O-O-ORLD

[ APPLAUSE ]

GOOD AFTERNOON, EVERYONE, AND

WELCOME.

WELCOME TO GREY GARDENS.

I WOULD LIKE TO SING A TRIBUTE

TO YOUNG LOVE FROM ONE OF OUR

ALL-TIME FAVORITES --

"WILL YOU?"

[ PIANO PLAYS "WILL YOU?" ]

>> ♪ WHEN LILACS RETURN IN

SPRING ♪

♪ WILL YOU?

♪ WHEN LARKS IN THE MEADOW

SING ♪

♪ WILL YOU?

♪ WHEN CLOUDS OF A SUMMER STORM

DISSOLVE AND STARLIGHT SHIMMERS

THROUGH ♪

♪ WILL YOU?

♪ WHEN WILD GEESE OF AUTUMN

FLY ♪

♪ WILL YOU?

♪ WHEN HEARTH FIRES OF WINTER

DIE ♪

♪ WILL YOU?

♪ TIME RUSHES BY, MEMORIES

FADE ♪

♪ DREAMS NEVER DO

♪ I WILL BE EVER TRUE

♪ WILL YOU?

EDIE'S GOING TO BE TICKLED PINK

TO SEE YOU ALL HERE.

I'M AFRAID SHE'S SLIPPED AWAY

FOR THE MOMENT.

[ CHUCKLES ]

THE GUEST OF HONOR, SHE'S

MISSING IN ACTION.

BUT SHE WON'T GONE FOR LONG.

I'M SURE OF IT.

WHY, JUST LOOK AT THE GARDEN,

THE SOUND OF THE OCEAN...

AND ALL OF YOU HERE...

ALL OF YOU'VE COME TO CELEBRATE

EDIE, MY LITTLE EDIE.

OH, I HAVE NO DOUBT SHE'LL COME

RUNNING DOWN THE STAIRS AT ANY

MINUTE AND SURPRISE US, MAYBE,

THROUGH THE PATIO DOORS.

BECAUSE I ASK YOU, "WHO COULD

EVER BEAR TO LEAVE?"

♪ WHEN WILD GEESE OF AUTUMN

FLY ♪

♪ WILL YOU?

♪ WHEN I LAY THERE WONDERING

WHY ♪

♪ WILL YOU?

♪ TIME RUSHES BY, MEMORIES

FADE ♪

♪ DREAMS NEVER DO

♪ I WILL BE EVER TRU-U-U-U-UE

♪ WILL YOU-U-U-U-U-U-U?

[ APPLAUSE ]

THANK YOU.

>> OKAY, I WANTED TO END THE

SHOW WITH CHRISTINE EBERSOLE

SHOWING OFF -- YOU KNOW, LIKE I

SAID, MUSICAL THEATER, MOVIES,

"SNL," AND NOW A SHOCKING

COLORATURA RANGE.

SO IF YOU WOULD...

[ PIANO PLAYS

"BLOW THE WHISTLE" ]

>> ♪ BLOW, WHISTLE, BLOW AWAY

♪ BLOW AWAY THE PAST

♪ GO, ENGINE, ANYWHERE

♪ I DON'T CARE HOW FAST

♪ ON AND ON, FROM DARKNESS UNTIL

DAWN ♪

♪ FROM RAIN INTO THE RAINBOW,

FLY WITH ME ♪

♪ GONE, GONE, ALL MY CARES AND

WOES ♪

♪ BUT MERRY WILL I GO IF I AM

FREE-E-E-E ♪

♪ BEYOND THE BLUE HORIZON

♪ WAITS A BEAUTIFUL DAY

♪ GOODBYE TO THINGS THAT BORE

ME ♪

♪ JOY IS WAITING FOR ME

♪ I SEE A NEW HORIZON

♪ MY LIFE HAS ONLY BEGUN

♪ BEYOND THE BLUE HORIZON

♪ LIES A RISING SUN

[ VOCALIZING COLORATURA STYLE ]

[ LAUGHS ]

♪ I SEE A NEW HORIZON

♪ MY LIFE HAS ONLY BEGUN

♪ BEYOND THE BLUE HORIZON

♪ LIES A RI-I-I-I-S-I-I-NG

♪ SU-U-U-U-U-U-U-U-U-U-U-U-U-N

[ FLOURISH ]

[ CHEERS AND APPLAUSE ]

THANK YOU.

[ PIANO PLAYS

"SEND IN THE CLOWNS" ]

♪ ISN'T IT RICH?

♪ ARE WE A PAIR?

♪ ME HERE AT LAST ON THE

GROUND ♪

♪ YOU IN MID-AIR

♪ SEND IN THE CLOWNS

♪ ISN'T IT BLISS?

♪ DON'T YOU APPROVE?

♪ ONE WHO KEEPS TEARING 'ROUND

♪ ONE WHO CAN'T MOVE

♪ AND WHERE ARE THE CLOWNS?

♪ SEND IN THE CLOWNS

♪ JUST WHEN I STOPPED OPENING

DOORS ♪

♪ FINALLY KNOWING THE ONE THAT I

WANTED WAS YOURS ♪

♪ MAKING MY ENTRANCE AGAIN WITH

MY USUAL FLAIR ♪

♪ SURE OF MY LINES

♪ NO ONE IS THERE

♪ DON'T YOU LOVE FARCE?

♪ MY FAULT, I FEAR

♪ I THOUGHT THAT YOU'D WANT WHAT

I WANT ♪

♪ SORRY, MY DEAR

♪ AND WHERE ARE THE CLOWNS?

♪ QUICK, SEND IN THE CLOWNS

♪ DON'T BOTHER, THEY'RE HERE

♪ ISN'T IT RICH?

♪ ISN'T IT QUEER?

♪ LOSING MY TIMING THIS LATE

♪ IN MY CAREER

♪ AND WHERE ARE THE CLOWNS?

♪ THERE OUGHT TO BE CLOWNS

♪ WELL, MAYBE NEXT YEAR

[ CHEERS AND APPLAUSE ]

THANK YOU.

>> MAJOR SUPPORT FOR

"AMERICAN SONGBOOK AT NJPAC" IS

PROVIDED BY...

ADDITIONAL FUNDING HAS BEEN

PROVIDED THROUGH THE GENEROUS

SUPPORT OF...

[ PIANO PLAYS "HOW ARE THINGS IN

GLOCCA MORRA?" ]

>> ♪ SO I ASK EACH WEEPIN'

WILLOW AND EACH BROOK ALONG THE

WAY ♪

♪ AND EACH LAD THAT COMES

A-WHISTLIN' TOORALAY ♪

♪ HOW ARE THINGS IN

GLOCCA MORRA ♪

♪ THIS FINE DAY?

STREAM AMERICAN SONGBOOK AT NJPAC HOSTED BY MICHAEL FEINSTEIN ON

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