How can I obtain an autographed photo?

Click HERE for instructions.

What’s your favorite food and color?

Right now … In-N-Out cheeseburgers. I find that chocolate milkshakes go well with them, by the way. And though traditionally I have loved purple and green (see SO FAR CD cover) I now love burgundy and honey-golds. But wait five minutes and I’ll say pizza and turquoise. =) I am forever looking for new things to try and love. =)

What is your favorite ice cream flavor?

Ben and Jerry’s Coffee Heath Bar Crunch. Just writing it makes me want some and it’s only 9:45am!!! I LOVE IT!!!!!

How tall are you?

I’m 5 feet 3 and one half inches. In other words … short.

Have you always wanted to be an actress?

Actually, no. And I’m not sure I will always be an actress. But I’ve learned a great deal about myself and others as a result of acting. But I sort of imagine I’ll move onto other things at some point. I adore science and would probably have pursued an area of that (I was an anthropology major in college) if not for the acting. And in the future I’d like to devote most of my time to writing! Novels, I am hoping!! We’ll see!

How long have you been acting? And what was your favorite Broadway show that you've been in?

If you count my humble beginnings, my first play (in school) was in the 5th grade. Then one in 7th, then lots of children’s theatre camps and so on, until college – then I began working professionally.

BEAUTY AND THE BEAST was a dream come true because it was my first Broadway show and such an amazing experience. I also loved developing TRIUMPH OF LOVE. But CABARET is probably my favorite because it taught me the most as an actress.

What are the best and worst parts of being famous?

I‘m laughing because I am nowhere near famous!! I may be recognized every once in a while, but for the most part I’m still trying to explain who I am to most folks in the industry!! So I guess the best part is that you occasionally get to meet someone who shares the same love of theatre – who has been in the same room (theatre) as you during a performance – so you have a shared experience. And the worst is that even after accomplishing a certain level of success, the struggle continues. =)

What’s your favorite vacation?

My favorite vacation, huh? Probably one I had as an 11 year old – when my family went rafting down the Colorado River for 8 days. The Grand Canyon high on either side – the beautiful landscape and stars at night, the roller coaster rapids!! I loved it. But I’ve also really enjoyed my journeys in Europe: Italy, Holland, Greece, France, England and YES IRELAND. I’m Irish after all!!!

Which do you prefer, stage, film or television?

Honestly, I enjoy all three and kind of feel I need to keep each foot (and an arm) in each genre, simply because it keeps me from feeling burnt out in either. I LOVE theatre, but 8 shows a week with no breaks is really tough. Working in film or TV offers me a chance to break the pattern and also utilize different skills – more naturalistic styles. I’d miss any of these if I ever cut them completely out!!

You said you ice skated for a while. Who is your favorite skater? Mine is Angela Nikodinov. Do you follow the sport anymore? If you were a man for one day, what musical theater role would you play?

What fun questions! I did ice skate and grew up loving Robin Cousins – do you know him? I loved him because his skating was as much art as sport. I don’t follow it as much as I should now. But the skaters I respond to are the ones who get inside the music, have BALLET TRAINING – I hate bad arms!!! The ones who are connected to what they are doing with their heart. Its hard to explain, but it makes such a difference as an audience member – there is that X-factor that makes someone’s performance just fly when their heart and soul are attached to it!

And if I were a man – I’d love to play Che in Evita. Tevye in Fiddler. ValJean in Les Miz. DonQuiote in Man of La Mancha. There are some great guy roles!!!

Just wondering...do you read your own reviews like from shows and your cds and stuff?

Sometimes. I shouldn’t, but I do. I’m just too darn curious!!! The good ones don’t affect me much, and the bad ones (that are fair) actually help me grow. The only ones that are tough are the bad ones with an agenda (ie: they have to disagree with the prior critic at the paper to establish their own voice, etc). I would like to be the person who TRULY cares nothing. But I’m not. =)

Who are your sources of inspiration?

Carol Burnett, Paul Newman, Audrey Hepburn – these are folks who did not stop once they became famous – they applied/apply what power they had for social causes. Meryl Streep does this too. They are down-to-earth people who never became ego-based. I love Oprah. I love anyone who uses what power they have (as an actor, teacher, banker, doctor, janitor, whatever) for bettering their world. =) We ALL, no matter what we do for a living, have the power to do that!

What is it like meeting crazy fans (me, for example) who just are so thrilled to actually be in your presence?

I LOVE meeting you crazy folks, because I am decidedly crazy myself. I will admit – you were the first to put my headshot in your prom candids, but (as I never made it to my own prom – I was doing a show) I am HONORED and appreciative. =)

Thanks for your book recommendations – I loved the Time Traveler's Wife. I was wondering if you ever considered writing too?

YES!! I imagine I will definitely write in my future – I’d like to work on novels. =)

if you were stranded on an desert island, what 3 material things would you want to have with you and who are 3 people that you would want to be there with you?

Having seen CAST AWAY I can pretty much say I'd like a complete first aid kit, thousands of matches, and a good set of knives. I'd also like to have my guy Rob, my brother, who could survive in the wild easily, and it's only fair to also have his wife, Pla. =) She's a great cook with seafood anyway!!!

Susan, one thing I wondered about was why your hair was dyed so dark for Sally Bowles in "Cabaret". I noticed that other Sallys (like Natasha Richardson) had lighter hair color. Also, why did you decide to keep it dark when you weren't doing the show?

I’m laughing. My hair was so dark because I can’t say no to Sam Mendes. He wanted Sally to have black hair – Jennifer Jason Leigh dyed hers, too. I don’t think Natasha was willing to dye hers – don’t blame her she’s a gorgeous blond! Some of the other famous Sally’s have looks that audience know them for. Molly Ringwald was a red-head. Basically if the actresses made a stink or made a deal in their contract they could negotiate hair color. I don’t really care what color my hair is and I LOVED getting inky black so that I could dive into the character.

THEN I got stuck with it, because when I started the TV series NIKKI, I couldn't go back to being a red-head, because Nikki Cox is a red-head. =) The character I was cast as, Mary Campbell, is a bad girl and I got the role while doing Sally Bowles, so they hired me as a black-haired gal. They wouldn’t let me change it, but I did negotiate for them to let me grow it out! So it got to be shoulder length, then two years later the show was cancelled and I colored it back to a softer brunette, then I do Sally again and CHOP the cycle starts again. At least with MILLIE they lightened it a lot. Now I am on my own again and it’s already getting longer. =)

Basically I have no control over my hair when I’m working, but I like the changes. I LOVE disappearing into a character, fooling people with my changing looks. And at least now I have three sets of headshots – one for each look!!

Of all the places you have been to, whether performing or visited, what is your favorite city?

Oh! I love traveling!! I couldn’t pick a favorite – but I haven’t been to Peru yet and I think that Machu Picchu may win! I’ve loved Greece, Florence, Amsterdam! Love the diving in Australia and Caymen Islands as well! I long for Egypt and Turkey. I love ruins, ancient cultures … love to travel!

I remember you mentioning you were a fan of old movies; what are some of your favorites?

Mildred Pierce, Jezebel, Little Foxes, Philadelphia Story, To Kill A Mockingbird. Favorite movie of all time, though is: Ordinary People

Do you get compared to Jodi Benson a lot? My family thought you were her.

I’m great friends with Jodi – but never been compared to her really. =) I love her and would consider any comparison a compliment!!

Where did you meet Kermit? And what was he like to kiss?

We met on a very romantic evening when we co-hosted a benefit in Los Angeles. During the press shoot, he whispered sweet nothings in my ear, then kissed me. I kissed him back and will never forget it – it was that good! In this one case I was glad the frog did not turn into a handsome price – Kermit is perfect simply being green.

SUSAN'S BACKGROUND

Was going to the Orange County High School of the Arts (OCHSA) helpful (more than a "regular" high school) or was it just another place to perform (assuming you DID get into plays there!)?

Yes, definitely OCHSA was helpful, but my senior year was the first year the school existed and it was a very small program with about 50 students total! Now of course there are ten conservatories and 1200 students on OCHSA’s own campus! Very different. OCHSA was a good training ground for me, but I really credit the music classes of Dr. Ralph Opacic my first three years in high school for setting me on the path that OCHSA then further developed. Ralph built a huge and wonderful music program at my high school and it was that program which eventually became an official high school of the arts.

How long have you been singing, how much studying have you done and do you think that a voice can be developed into a sensation or is natural talent a must?

I began studying voice when I was 15 and I am proof positive that you can LEARN TO SING. =) I was not a natural – had a very small voice, in fact. I believe singing is like any sport – you can train the muscles with a good instructor. Natural ability will play a part – we’re not all going to be Tiger Woods on the golf course – but we can ALL become pretty darn good golfers if we work at it! Musical theatre doesn’t demand GREAT, GREAT voices – it’s a medium that demands balance – being able to sing well, dance well and act well. I think I work in this area, because I’m pretty well-rounded. Opera is reserved for those who work hard AND have extreme natural talent, bone structure, lung capacity, etc. Make sense? If you have a good ear – can hear and match pitch (even if your voice is weak) – I believe you can work hard to have a pretty rockin’ instrument. Have fun! I do recommend finding a good teacher though, because singing incorrectly can cause damage.

What kind of dance did you study as a child?

I was strictly ballet (and character) oriented at a studio that taught by the conservative Royal Ballet technique. Black leotards, pink tights. I studied for about 14 years and did work on pointe for many of them (one I hit 13 or so). I moved to another, less conservative, studio and then began taking jazz (as a teen) and loved it, too – but ballet was my favorite.

SUSAN'S ADVICE

How do you get started in acting?

I simply believe you need the heart and the mind to work hard to improve whatever amount of talent you have.

What is your advice to someone just starting out? Knowing what you know now, what advice would you give yourself at 18?

My biggest suggestion is to LISTEN TO YOUR HUNCHES. In every area YOU will know what needs to come next. We so often get caught up in other people’s opinions, but only you know the best path, and I mean not even consciously. =) Listen to your gut, instincts, higher voice – whatever you call it. I like to think it knows the divine path like the back of your hand. It will inform you about what opportunities to take, what training you should look into next what places and people to trust. Keep your conscious mind open – don’t JUDGE – and see if another voice starts talking a little louder. I know this isn’t what you expected. Perhaps you expected me to say – protect your body and talent – look for the longevity of staying healthy, I don’t know. But see what you EXPECTED you already knew inside yourself. =) You didn’t need me to say it – you already had that info. What I say is TRUST IT. Look inside for answers.

I had always wanted to be a performer but I'm sixteen and haven't done anything. Is it too late to start and how do I start?

It’s NEVER too late for anything!! I didn’t start singing until I was 15, so I only have a few months on you. =)

Do I need to move to New York to work in theatre?

The best advice I have is to take advantage of all your local theatre outlets, whether it's in school or with community theatre. Stage time is the key -- it doesn't matter where (!) -- as I think all audiences will teach you more than just about anyone!!! =) Once you have exhausted all outlets -- then it's time to move to a bigger city and ultimately NY. By the time I went to NY I had amassed lots of community theatre credits and lots of stage time and so I knew what I was good at and what I need to work on -- that knowledge is invaluable!

Heading to the big city and trying to gain experience there first is a mistake a lot of folks make. =) Go when you have a resume, even if it's only with school and local productions! That experience will give you the confidence that the lesser experienced folks lack -- and that makes all the difference!!!

Should I go to school for theatre?

Everyone’s path is different, and only you know the best thing for you. But in my view, school can be a great opportunity!. Take advantage of the training there AND productions both in school and in your community. Gaining experience on stage is invaluable!!! Audiences are the best professors! You'll learn very quickly what works and what needs work on a stage. I'd say, my great advantage when I did move to Ny (at 22) was that I had more stage time than my peers -- and especially than the ones who moved to NY at 18. Harder to get stage time in NY than in your community theatre, so exhaust ALL resources where you are now, before going to the big city. =) You'll be amazed at how easy the transition is if you do. =)

Remember there are many paths to the same place - so really there are no wrong choices. And don't let the nay-sayers get to you. =) Their negativity and fear-based and their own deal -- not yours.=)

Good luck!!

I'm in college right now and I was wondering if you think it is necessary to get a degree if I want to pursue a career in musical theatre?

Building on my last answer, I wish there were a straight answer for this!! While no one is going to give you a job on the basis of having or not having a degree in theatre, I do think education can make you a better actor and thus give you more reason to believe you CAN get the job. Again, for acting, jobs are given based on your audition. Folks with no education can win the roles if they are brilliant. BUT the more training you have the more likely you’ll be brilliant, yes? Strong training also helps with confidence and the building of technique. Only you know how and where your education should be advanced. Some learn by doing, some through classes at universities and conservatories. You know yourself best to be able to recognize what is most useful for you. IF YOU WANT TO TEACH at some point, however, the degree is necessary! Hope that helps!

I was wondering if you had any advice on auditioning for college?

Advice for college auditioning – I think what they are looking for the most is whether your own personality shines through in your performance. They are not looking for perfection – afterall why seek and education if you don’t need one – what they want is someone with skills that can be built upon and an openness in that student to show a willingness to change, learn and grow. I respond to someone who is enthusiastic and serious about their studies. And someone who will be a joy to have in the classroom. Nothing satisfies me more than a student who is dedicated and ENJOYS the learning process!!

I’m auditioning for the role of Belle!! What should I do/sing?

First off -- have fun!

And just remember that Belle is smart and adventurous. Yet she's also a little insecure with others in town -- they look down on her. But when it comes to important moments, she stands for what she believes in!!

Keep it honest and bring as much of yourself to the lines. Don't mimic me or Paige O’Hara (from the film) -- be yourself -- then there will be a genuine and believable nature to your Belle! That's the most important thing. =)

Though it was a cartoon, don't be cartoon-y -- be honest and clear. And don't forget she's a little mischievous, too, so don't be too sweet!! Ha! She's has fun and so should you!

As far as a song, Alan Menken – the composer of B&B – has written so much material! I suggest finding other songs by him (Pocohontas, Hunchback, Little Mermaid) perhaps. You can also look at Ahrens/Flaherty music – I’d suggest the song they wrote from ONCE ON THIS ISLAND – the “I want” song the leading girl sings – very Belle like in her desires. =) And same vocal range!! I also love LION TAMER a song by Stephen Schwartz from THE MAGIC SHOW

Good luck!

How do I learn about the Actor’s Union, Actor’s Equity?

Check out www.actorsequity.org

Do I need an agent? How do I find one?

As far as making it on Bway -- you simply need to get into the audition and blow them away. They have open calls that do not require having an agent -- though you will be waiting a while in the waiting room. The advantage to an agent is that you'll have an audition appointment -- so less waiting. But it's CERTAINLY possible to be cast from an open call -- get the job -- then it's easy to get an agent who will then help secure more jobs in the future. =)

Agents do help -- perhaps your school or a group of friends could put together an agent showcase in NYC -- I know agents and casting directors enjoy going to these to find new talent! And it's a good way to get in the door when you're new. If a professor can help organize this you might get better attendance by industry folks.

How did you find an agent and join Equity?

I actually got my first Equity job at the St. Louis MUNY -- a summer stock place. I auditioned (I had an agent) for a role and was cast -- so they made me union. I found my agent by doing a community theatre production in California, and the director's agent liked me. I got lucky.

How do you get through all the rejection – the roles you don’t get?

Academy Award winner, Helen Hunt takes voice with my teacher here in LA and she is frustrated because she can't get seen for a role that is currently being cast. And she has an OSCAR!!!! =) I'm afraid what you're going through happens at every level of this career. SO, look at this as an opportunity to learn how to handle the disappointment and NOT LET IT DERAIL YOU.

The TRUTH is: there are plenty of jobs for everyone. If you can look at things like: "Oh, I'm so sad I didn't get Belle, but it must mean something else is waiting that is better for me." If you can do that, it will be true. =)

I was once told for 7 weeks that I'd be playing Dainty June in the TV version of GYPSY starring Bette Midler. I was ECSTATIC!!! Finally, my big break. Arthur Laurents, Jule Stein and Stephen Sondheim (the incredible writers) all wanted ME!!!. 7 weeks later another girl was cast -- Bette Midler wanted her. She didn't dance on point or twirl batons as required for the role, but she got it anyway. I was despondent. My mom reminded me that in the past I always said, well, something better is coming. And it helped turn me around.

While GYPSY was shooting in Canada, I was still in NY .... and available when the auditions for Beauty and the Beast occurred. Had I gotten GYPSY I would not have gotten Belle! BUT if I had still been depressed about GYPSY, I would not have gotten Belle either. Make sense? I got the role because I remained open to the idea that GYPSY was not my job to have ... but something else might be.

Everyone's path is different and there are an ENDLESS number of paths to the same place. Honor your path and don't begrudge someone else theirs. I made it on Bway after being in the CHORUS of all my high school shows -- my best friend was the lead in every one, not me. You never know! Your time will come! Be ready and trained for the moment!!!!

How do you survive auditions?

Just know that you need to sing for every casting director 5 times. So go, audition well, and don't worry about that specific job too much. Mark it off as one audition for that person. It's a numbers game. By the time they see you 5 times, they'll think they know you (have even cast you before) and you'll get a little more attention. Keep notes on who you've seen -- who is behind that table. Say hello to them, you can even say -- "it's great to sing for you again I saw you last at the .... audition." =) That kind of thing.

BE FRIENDLY to EVERYONE -- the pianist at the audition -- the gal running the table in front. EVERYONE!!! This counts for more than anyone (especially the new kid) thinks. LOTs of talent out there -- so the deciding factor at auditions may end up being .... who was on time, prepared, professional, and kind. Afterall they are casting people that they will then hang out with for a long time!! Be someone they want to hang with. =)

Good Luck!!

Do you get nervous at auditions? What do you advise to others who do?

It's so hard to actually relax. BUT it's very easy to PRETEND to be relaxed. =) Just pretend. Create loose physicalities, keep your arms loose, etc. It will trick them and YOUR own brain. =) And soon, relaxed become habit!

For a Musical Theatre career, what is the most important thing to know: singing, acting or dance? Do you have to know how to dance to work in musical theatre?

I'm a strong believer that the more you know, the more you have to offer, and the more opportunities you are making for yourself. For an actor -- having choices and options means more work!!! Take dance. Yes to ballet and yes to tap (and jazz if you can find time!). Whether you end up dancing or not, this will give you an ability and familiarity with your body that will translate into your singing and acting. AND knowing how to dance ain't bad either!!! SO many shows demand it now. Even the leads in SPAMALOT have to TAP!!! =) Having a working knowledge of dance will double your opportunities for work!!!!! And that may make all the difference between making a living and not!

Try to get your acting up to the same level as your singing. So many people can sing now -- if you can act beautifully, too -- you will shine above the masses and get the job. =)

What music should I prepare for a musical theatre audition?

I think everyone should find a range of material from different eras. Get a great Gershwin, Porter, or Berlin tune. One Rodgers and Hammerstein or Rodgers and Hart – or Lerner/Lowe. Something

modern (in the last 15 years) and one pop tune. If you can get a ballad and up-temp in each!!! You’ll be prepared for everything!!!

What would you recommend for audition-illiterate high school students like myself?

Auditioning. I talked a bit about this above with regard to university auditions, but it holds true for all auditions – that the most successful audition is when you can impart your own self into the reading or song. Connect to it. That is the key for all acting. Add the third dimension of yourself into the role. Yes, master the material, yes, do your character homework, yes, understand the story and where this scene falls in it, BUT then add the other half – your self. Get inside the material. Put your won instincts, desires, into the scene/song. Does this make any sense?

I'm wondering if you could share some of your process when analyzing and performing a song.

I think I naturally drift towards songs that I have an affinity with – when I record anyway – so there is something personal invested. But regardless I have never thought of myself as a great musician – I think I’m more of an actor, really. So I always approach material from a character standpoint. Making dramatic choices as the person will determine whether a note is belted or sung softly in head voice. It’s also important to be aware of the story being told. As I said to another questioner, “make the point” as an actor (or singer). The character is saying these things for a reason – what is it? Who are they speaking to? And now “make your point” while your singing it! Throw the meaning just as much as your throw the sound. =) Hope that helps!!!!

Do you know of any "tricks of the trade" to keeping your voice in shape other than warming up? I have this problem, where I often find that after singing or even speaking for extended periods of time that my voice will become really scratchy and just sound plain gross. Do you recommend anything besides the usual hot tea with honey and lemon that everyone keeps telling me is so great for me?

A scratchy voice after singing and speaking -- I’m afraid it’s a sign that you are not singing/speaking correctly. I know that sounds crazy, I mean we all know how to talk, right? Wrong. I know from experience. Strangely, I can sing for quite a while, probably because I’m concentrating on technique when I sing, and I don’t get hoarse, BUT my speaking voice is terrible!! My voice teacher spends more time with me on speaking than singing!! Perhaps you are doing what I do … I don’t sit or stand straight, so my breathing is horrible when I speak. My head juts out, so my voice isn’t attached to air, then I just press chords together to talk. After time, this is VERY straining!! It’s SOOOOOO important to speak from breath, not chords. Hard to explain. If you can talk and talk without taking in more air, it’s a sign you’re speaking incorrectly. I do it all the time, because I’m plain lazy!! It may just be your habit. It sounds as if your singing voice is a little manipulated, too. Keep your neck long, body straight and air moving!! Try that. Air should be moving before any sound happens. If you make a sound while your air is trapped in your lungs – not coming out – you need to change your method. Bummer, huh? I hate it!!! I have to work on how I talk every day!! I hate it! =)

I know it’s important to warm up your voice before singing, but you mentioned warming “down.” What is that?

It’s really the opposite of warming up – where you take your speaking voice into the wider range of your singing voice. Okay warming DOWN, you want to take that wide range (start at the top) and bring it back down into the register you speak in. Do scales coming down, then mid range exercises – sing VERY easily – no pushing. Think of it as a kind massage and reward for your chords. End with a bit of simple, limited range mid-range- speaking-voice range humming. Like soft velvety humming. A massage. =) Make sense?

If I get into trying dancing lessons, what dance is best to learn for music theatre? How many years would you recommend I take?

I suggest taking Beginning Ballet and Jazz. It will be awkward at first, but you’ll be surprised how quickly your body adjusts and learns!!! Do it! Even if you don’t end up dancing in a huge show (by the way, opera won’t demand this of you!), having more body awareness will help your singing and overall health!!! Do it. Keep an open mind – you may even enjoy it!!

Are you embarrassed if you have to kiss a guy in a show? What do you do?

The age old question!! I think its easiest to start off giving the (lucky) guy a quick peck kiss. This will get that “first” kiss out of the way quickly. Then it’s just on to being your character – perhaps they are nervous too? Or perhaps they are feeling other things? Get into those emotions. And then I say – heck! Enjoy it!!! =) And laugh good-naturedly – it IS awkward – admit it, shrug it off, smile and jump in!

Have you ever been disappointed with some of your performances? How you were able to restore your confidence for the next performance?

Absolutely I’ve been disappointed with my performance!! We all have, and I’d be worried about the soul who never was. =) But the beauty of theatre (and most everything) is that there will always be another day. I get to do the show and work to do it better the next day! As I’ve grown older I’ve been less “upset” with myself when I’m dissatisfied with my performance. I found that beating yourself up is counterproductive. Give yourself room to have good days and bad, and you’ll find you have more good ones. Also, trust your technique!! Even if you think you could do better, you have still probably done quite well! There have been many a show when the director comes to my dressing room totally pleased with my performance – he/she didn’t notice any of the things that bugged me – and they are the DIRECTOR!! We are so hard on ourselves. It’s useful to grow, but not if you abuse yourself. Keep it light and flowing and just keep moving forward! The freedom of that will most likely solve most of the glitches!!

SUSAN'S CAREER

(THE SHOWS, CDs, FILMS, etc.)

I would love to know how you came about auditioning for Belle.

I auditioned in 1993 a short time after moving to NY. I was pounding the pavement and singing for every show I possibly could (all of them were agent submitted, if that was your question) – that season it was CAROUSEL, GREASE, MY FAIR LADY, etc. B&B was just another audition, and frankly, I almost didn’t go – I still don’t think I’m pretty enough for the role. But I DID go, thank goodness! I sang “The Story Goes On” from BABY, read the scene they gave me, then learned I was called back for Belle. The callback consisted of THREE days in a row. Day 1: working with the director and musical director. Day 2: Singing for composer Alan Menken (I was most nervous this day). Day 3: 6 hours at the John Houseman Theatre, singing and reading for the heads of Disney (Michael Eisner and Jeffrey Katzenberg as well as all main producers) and all of the production team. I read with 2 different Beasts (one was Terrence Mann who got the role) and 3 different Gastons (one was Burke Moses who got the role). I arrived that morning at 11am and stayed until 5pm!! They called that night to let me know I had been cast!! I was so exhausted … and so excited!

Did you enjoy playing “Meg” in HERCULES? How was it recording “I Won’t Say (I’m in Love)?”

I LOVED playing her and love that song, too. =) Though when I was recording it -- I never felt sooooo white and square -- in the studio with Roz Ryan, and Cheryl Freeman, and La Chanze and Lilias White -- they are AMAZING!!

You know, there was actually another song written for Meg -- a beautiful soaring ballad, like Ariel's song. We recorded it and they started animating, but it didn't work. Then we all realized why: Meg would never in a million years sing a soaring ballad! It was hi-larious! So they cut it and wrote I WON'T SAY and the rest is history. I love both songs, but was always kind of bummed that folks never heard the first one – even if it’s not very “Meg-like” it’s still a great tune! The finally, I did get to record the original tune, I CAN'T BELIEVE MY HEART, on my last CD, COFFEE HOUSE. If you're interested you can listen to a clip either at my site: www.susanegan.net or at iTunes. =) Kind of interesting to know the evolution of the music that ended up in Hercules. =)

Were you asked to do the voice for Megara or did you have to audition like everyone else? Also I was curious about Broadway shows that you've done, have you had to audition for every role, or again were they offered to you?

I auditioned for Meg in HERCULES. Actually they wouldn’t LET me audition for the role, because they didn’t think I was right for it – I was playing Belle at the time for Disney and that’s how they saw me – sweet -- innocent. I had to BEG to get the audition, then when they finally said yes and heard me read, I think they were a little surprised. I was acting as Belle – I pretty much am Meg. =)

And as for Broadway – MILLIE was the first role I’ve ever been offered. I’ve auditioned for everything else.

Why didn’t you record “A Change in Me” on the Original Broadway Cast Album of Beauty and the Beast?

“A Change in Me” wasn’t written yet! It was composed by Tim Rice and Alan Menken for Toni Braxton several years after I left the show. But I did get to be the first to actually record it ... it's on my solo CD "So Far." If you're interested you can listen to a clip on my site at www.susanegan.net. Kind of fun trivia for B&B folks. =)

How did you decide what songs you were going sing on your CD, Coffee House?

How did I choose material? In kind of a haphazard way at first. I’d been wanting to do a CD from day one that encompassed the kind of music I grew up hearing. Classic rock from the 60’s and 70’s as show to me by my parents and older sibs. “Oh Very Young” is my favorite song of all time, so that was a definite. Joni Mitchell’s “Both Sides Now” seemed a natural opening track, and I just love her! Then I started looking at songs I’d been doing in my cabaret act – tunes by Marcy Heisler and Zina Goldrich – I recorded two: “Taylor the Latte Biy” and “Oh, How I Loved You.” That last one has the most incredible lyric!!!!! I had also recently met Georgia Stitt (who is married to Jason Robert Brown) – and she is a fantastic composer! I now close my act with her song: “Sing Me A Happy Song” so that seemed a natural final track. I had been touring with Jerry Herman performed “Where in the World is My Prince” live – I think the tune is hysterical, so we put that on the list. And I’d been wanting to record “I Can’t Believe My Heart” – a song replaced in HERCULES with “I Won’t Say” – since 1996!! So here it is – being a pop song, it fit right in! “Roses,” “French Waltz,” “Someone to Lay Down Beside Me,” and “Wuthering heights” were all suggestions from my producer and friend, Christopher McGovern and I loved them all immediately. I remember “Wuthering Heights” from my early teen years and adore Kate Bush. That was a risky track to do – we felt we’d either be celebrated or slaughtered for doing it! =) Let’s see… “9th Avenue” was written by Chris and I love the sweetness of it. “There Are No Words” was submitted to me when I was looking for concert material a few years ago by lyricist Faye Greenberg and I immediately loved it, but saved it for my next recording – this one! And there you go!!!!

How did you come to play Millie in THOROUGHLY MODERN MILLIE on Broadway?

I was offered the show WAY back in 1996 when they started development, but thought it was too similar to Belle (good girl) and I was getting typecast in NY. So I passed. BUT later ... after playing seedy Sally Bowles in CABARET I knew it ws okay to be a good girl again. =) So I took over the role when Sutton left the show. =) FUN!

With Sutton making a name for herself and creating the role of Millie, was it hard to take over the role? what did you do to prepare? also, what was it like to work with Christian Borle?

Hi Amy! Sutton was fantastic, absolutely, but it never really crossed my mind to be nervous or anything in taking over the role. Millie is so similar to so many other roles I’ve done – it seemed pretty natural to do it. I was even offered Millie way back in 1996! So I approached it like all the other character’s I’ve done. Looking at her background, her desires, her strengths and weaknesses and finding qualities inside me that make Millie’s moments natural to me. I saw Sutton do the show once and remember loving her, but I don’t recall specific things she did. What made her show memorable was her honesty, so it’s important for my choices (even if they’re different) to be honest as well. That’s the essence that makes a performance fun to watch. It’s the only way I know how to do this. =) And I loved it.

Christian is a swell guy and so very talented! And he works non-stop. BTW – I think he should have won a Tony for his work in SPAMALOT!

How was it to close Millie?

All closings are bittersweet. I am so glad to have had the chance to do the role at all, so I felt lucky. I’m also one who LOVES to move onto new adventures, so I was excited to close one chapter so I can turn the page. But it’s always sad to leave a group of people you love and to say goodbye to something that was wonderful. That’s’ the circle of theatre, though. And I look forward to working with as many of those folks again as possible and what makes it fun is that then you will have had a shared memory with them!!

I was wondering, since you said you were short and well Sutton is NOT short lol, they obviously had to make you different costumes. my question is what happens to the costumes now that the MILLIE closed?

Good question! I know from the Broadway production they now have three sets of Millie costumes, tall (Sutton), short (me), and medium (varoius, marvelous covers). They were packed up and sent to the tour to be used for new covers. Then ultimately they will be stored with all other MILLIE costumes and rented out as a package for productions in the future. So maybe you’ll wear them soon!

I remember when I was in college I did a production of “My One and Only” at a theatre in LA. We got the Broadway costumes, and I decided to wear one piece from each actress who had played Edythe before: One Sandy Duncan (the tux), one Twiggy (the ball dress), one Stephanie Zimbalist (the starfish costume) and one Lucie Arnaz (the torn sweater). I loved it!!

What was a crazy/fun/interesting moment you had while performing as Millie up on stage?

Live stage – great for embarrassing moments. The day before we closed in MILLIE, for example, when I did the prat fall in Act II – at the desk – in an effort to “seduce Mr. Graydon,” I fell on the floor, the desk rolled and the skirt of my dress actually went up into the wheel cover of the base of the desk. I mean A LOT of the shirt went up in there (think grocery cart wheels and you’ll have the idea) and I was STUCK. Truly trapped. I guess I was muttering “oh, dear – oh dear!” as I was trying to get free. I’m struggling on the floor – the audience (thinking it’s all part of it) is laughing. I’m looking up at Kevin (who plays Graydon) and his expression is like “Holy, crap.” This was taking soooo long, so I finally just started up with more lines. I’m pulling my skirt, sitting on the ground, saying, “So, Mr. Graydon – what is your opinion of brute force …” I YANK and GET MY SKIRT FREE. Kevin stares and says his line, “I’m not for it, not for it at all. That’s not what women really want. Give them a young man … Tom Sawyer at 20.” I’m still on the floor and it’s too late to try to get back in the desk, so I pose on the floor of the stage as sexy as I can – leg out, head back and say, “I never read Tom Sawyer, was he sexy?” Kevin now looks at me like I’ve lost my mind. “HE WAS 12!” he says. I’m so mortified (the audience is laughing, mind you) that I totally give up and throw away my last line as I sheepishly get back onto the seat, “Well, if you got it you got it.” It was the biggest laugh I ever had on that line.

Audiences react to authenticity. I think the moment worked better than it EVER had (Kevin liked it, too and we cracked up later), because I was REALLY scared! If I rip this skirt off, I have 40 minutes before I exit! I’m thinking – don’t rip it, don’t rip it – I still have the ledge dance with Christian to do!! The fear and embarrassment were exactly what Millie feels in front of Graydon. It was the best prat fall ever, because it was real. =)

Surprise moments on stage don’t always work out that well – like when Terry Mann (the Beast) pulled my wig off accidentally. That worked less well. =) But the MILLIE moment is the most recent!

Could you tell us your worst audition story? Ya know, falling on your face, the director was an exboyfriend....the worst most horrible audition you've ever had.

Okay, I guess the worst would be an audition I had for director/writer James Lapine. Let’s just say I did what I thought (and what has always been for others) a very funny song … no laughs from James. I mean nothing. Dead silence … then a “what else did you bring?” I tell him my other song, he doesn’t want to hear it. Then “thank you.” And it’s over. I know it’s not a disaster story. I have those, too. But I tell you, the WORST is not messing up, or fainting, or crying, or anything else. The WORST is … no response. Nada! =) Good for the ego, though – keeps it in check!!

What’s your favorite show you’ve been in?

I LOVED doing Cabaret -- I know as actors we're not supposed to have "favorite" shows, but let's face it ...we do! And Cabaret is mine. =) Hee, hee. I actually got to record MAYBE THIS TIME and CABARET on my CD "SO FAR" after I did the show the first time in 2000. They gave me the Bway orchestrations and everything; I took them to London and recorded it at Abbey Road (which I think Sally Bowles would have loved). Very fun. Then I returned to the show in 2003-4 and got to be the final Sally! I loved every day of it.

I'm just wondering what it was like performing in CABARET, how it was different from the others you've been in? I'm a big fan of Adam' Pascal’s too, may I ask what it was like working with him, and the other cast members?

I just love Sam and Rob’s production so much – it was an honor to be in it. And as for Adam – what a joy! So grounded and talented. I was thrilled that he came in to close the show with me. I have been a fan of his since RENT and was so excited to work alongside him!! He is everything you could wish for – hard-working, talented, dedicated, great energy backstage, supportive, kind, and of course gorgeous inside and out. =) You have great taste to be a fan of his! And the entire cast was equally tremendous!

I was reading an interview and you said you were in No, No, Nanette. I am doing that show right now in My hometown of Syracuse (as one of the tap-happy ensemble members(Roger)) and was wondering if you could tell me some of your fav. memories, which role you played, favorite number... etc.

I played Nanette 3 times!! It was the start of my bobbed hair. I love the show because it’s so tongue-in-cheek – almost a parody of the old-fashioned musical. My favorite part was learning to walk on the big beach balls. I also loved that one night I called my “Tom” by his real name, “Nick.” That is the one and only time I have EVER done that – horrible!! It also kind of launched my career – that show – because a gentleman saw me do one production and recommended me to producer Paul Blake who was doing a summer production of NANETTE at the St. Louis MUNY – a HUGE 11,000 seat theatre. After auditioning for Paul I was then cast in his production, got my equity card, and did another show that summer for Paul – “Bye, Bye Birdie.” In BIRDIE I met Tommy Tune, who took me on a national tour and talked me into moving to NY – and that year I got ‘Beauty and the Beast.” So, see? Nanette started the “beach” ball rolling!! Have fun!

I was wondering what is exactly your part in 13 Going on 30? Did you also get to work with Jennifer Garner in the movie?

What exactly IS my part in 13 Going on 30. Still wondering myself! =) I don’t do much in the movie, though I worked for several weeks on it and had an absolute blast. Never thought I’d be learning the Thriller dance in my career! I play one of Jennifer’s co-workers, Tracy – the art director for the magazine POISE – whose husband is having a fling with Jennifer’s character. My story line was cut a bit in editing, but I’m glad to be in it at all! I did spend time with Jennifer --- sat next to her for days as we shot the “board room” scenes. She’s marvelous. Once a struggling actress, who appreciates her success fully and remains grounded and genuine. We talked about life, fitness, and musical theatre (she had seen Beauty and the Beast). I gave her my voice teacher’s number as she was about to film a musical sequence for another film! We even tried to play cupid for two friends of ours. I hope her success continues (sure looks like it will!); I love when good things happen to good people!

Who wrote “Taylor, the Latte Boy?” And who recorded it first – you or Kristin Chenoweth?

I’m amazed at how often I’m asked this. =)

It's a tune written by Marcy Heisler and Zina Goldrich for an off-Bway show they did years ago called ADVENTURES IN LOVE. Kristin and I both recorded it. =) So did Christianne Knoll. =) IT's become an anthem in NYC for all sorts of cabaret performers. I hope you like all the versions -- it's a great tune. =)

Kristin and I are pals from NY -- we share the same voice teacher and hang out on occasion when we're both doing shows there. It was funny to both of us that we thought to record that song at the SAME EXACT TIME. =) My CD was released a bit earlier -- but hers was recorded a bit earlier -- so there you go. =)

IN truth it belongs to Marcy and Zina -- and honestly when Zina sings it in their concerts -- it's better than anyone! Course they know the REAL Taylor. =)

When you were rehearsing CABARET, how much work did you do with co-director Rob Marshall? What’s he like?

Rob is the most wonderful down-to-earth gentleman. Clear, talented, nurturing, etc. I didn’t get the chance to work with Rob until about 6 months into my first run in CABARET – I worked primarily with director, Sam Mendes (who is a phenomenon, but that’s another story). Rob was in LA shooting ANNIE, but when he did come back to NY he was marvelous to work with – he even re-choreographed for me a bit. He is smart in taking advantage of the unique talents of his performers – tailoring his direction – which makes his work so authentic to an audience. His eye for detail surpasses anyone's.

In CABARET, most Sallys I've seen don't come out and stretch with the chorus in the beginning (I think I've only seen two others that do), and I think it makes a significant difference in how we think about the character. My question: what went into your decisions about both coming out for the "pre-show" and the way you chose to interact during that part?

I came out for a few reasons. 1. To actually warm up. 2. To interact with the audience a small amount (I did it less than the other actresses, because Sally doesn’t speak German, make sense? She wouldn’t necessarily be able to talk with the crowd. 3. I could wind down from my day and warm into character in a very real way and bond with the cast. 4. I would smoke a cigarette so that when I did in the play I wouldn’t get dizzy – I’d already had my first of the day! 5. Sam was setting the mood with the idea of the pre show and I liked being a part of that mood. 6. If I were a very famous actress, I might not have participated because then it would become about star-gazing for the audience, not building the atmosphere of the Kit Kat Klub – but I’m not, so I did. =)

Broadway schedules seem hard -- do you ever get tired of doing eight performances a week?

I liken working on Broadway with being an athlete, you have to have stamina, take care of yourself, train, stretch, etc. With 8 shows each week, I have to pace myself. But I’m one of those performers that loves repetition. I enjoy the fine tuning of a character and the slight differences from audience to audience. I’ve been lucky to get to really explore that in some long runs of shows. Hope there are more in the future!! And that I get to keep coming back to Broadway!!!

Of the roles you have played, which character is most like you, which is least like you, and which have you enjoyed playing the most?

There is an aspect of myself in every role I play – I’m my own resource as an actress. A painter has paints; actors have themselves – their own feeling, emotions, philosophies, etc with which to make their creation. So I connect with each character I play. I’m not a drug addict like Sally Bowles, of course, but I have moments of insecurity, which is what leads to her drug taking. Get it? =) So I can’t think of any character I’m most like. I contain aspects of all of them. I read voraciously like Belle, I’m silly and awkward like Millie, I am sometimes down and feel helpless like Sally, I am adventurous and take risks like Princess Leonide – it goes on and on! I loved playing Sally, only because her path was so dark and I usually play positive women. Searching the depths of Sally really helped me better myself as an actress and as a person. =) So for now, she’s probably my favorite!

What role do you still want to play?

As far as roles I want to play: my favorite thing is to do new productions -- I love the process of creating a role from scratch -- so I guess I would have to say the role I REALLY want to play hasn't yet been written.

Did you love dancing in the movie Gotta kick it up?

I LOVED the dancing in “Gotta Kick It Up!” Our choreographer, Liz Imperio, is the woman who does a lot of J Lo’s routines and I LOVE her. We really had a blast!

PHILOSOPHY/POLITICS:

Beyond meeting the obvious physical demands, to what do you attribute, spiritually or otherwise, your extraordinary ability to maintain your “centeredness”?

Oh goodness. I guess I just feel so lucky to get work that I can’t say no to anything. And for some reason having demands put on me motivates me and keeps my energy really high. I like the running around! I’m nuts. I am spiritual and I know my being grateful and feeling a sense of responsibility to do a consistent and good job with projects is deeply rooted in that spirituality. I’m constantly amazed that people wait at the stage door, for example, so even if I’m physically tired from a show, I’m totally energized by my gratitude and enjoyment in meeting them. This life (even when it’s horribly difficult or painful) is pretty amazing. I like staying open to it all. Don’t know if this answers your question, but ironically having a spiritual life (and that could mean many things – for me it’s a sense of connectedness to others and our planet) keeps you grounded!!

I know that you have performed with the Gay Men's Chorus of L.A., and considering that you come from a background that is thick in gay culture, I wanted to know what you think about the "new" hoopla regarding gay rights and marriage, the decision by the California Supreme Court to ban San Francisco's marriage blitz, and everything in that controversial, yet progressive (*wink*) category?

You are correct that I am surrounded with gay culture in theatre, so for me it doesn’t seem strange – just a part of my world. My friends are my friends and I’ve been around it all so long that I don’t think in terms of gay or straight. Honestly I don’t notice fat or thin, black or white or green either. I spend time with individuals. But I also know that my situation is very unique and that most folks live in a bit more secluded/consistent environments. I travel weekly on planes meeting new people. It’s not the norm. =)

But here’s what I think about it all. Government should not dictate morality. We should, each of us, do that in ourselves. I am neither Republican nor Democrat and am amazed by the seeming hypocrisy of both parties. Republicans want small government and power at state level but then they make sweeping political moves. Democrats want acceptance for all, but then strongly judge anyone who is conservative. =) Funny. I like them all, but have very specific feelings. I believe we should live our lives doing the least harm possible. How does a relationship between two men 1000 miles away from someone in the mid-West affect that Mid-Westerner’s marriage? If someone is so threatened with the idea of someone having a different kind of marriage (or whatever they want to call it) the problem is inside the person. Their idea of marriage should not be so easily threatened by another’s choices. It’s like does all ice cream have to be peppermint? I believe the word marriage (which I have used to describe pairings other then people) can mean anything. And that we each can decide what it means for US. =) We should concern ourselves with our own behavior, not the behavior of others. Obviously harmful deeds should be punished. I’m not an idealist. I just believe this whole ordeal about gay marriage is a ridiculous display of meddling. And that government should not dictate something which is a spiritual/religious ceremony. Let the religions do that. Let people love the way they are built to love and let them call it anything they want. Arguing semantics is a losing battle. No two marriages (between a man and woman) are the same. Some are so bad in fact that I sometimes wonder why gays want to call their union a marriage! But I do believe it is their right to “pursue happiness” as much as any other group and to call it what they want. It will not affect me or the personal vows I made to my husband. We cannot dictate by law sacredness. It is too personal. I have probably offended every group out there now. I just believe that love should not be our battleground – we have enough else on our plates in that arena. =) And I believe this ordeal is based in fear. And I don’t chose to engage in fear-based arguments. =) I bless everyone.