What do you do when life doesn't go according to plan that moment you lose a job, or a loved one, or even a piece of yourself. I'm Brookshields and this is now What, a podcast about pivotal moments as told by people.

What do you do when life doesn't go according to plan that moment you lose a job, or a loved one, or even a piece of yourself. I'm Brookshields and this is now What, a podcast about pivotal moments as told by people.

Who lived them.

Who lived them.

Each week, I sit down with a guest to talk about the times they were knocked off course and what they did to move forward. Some stories are funny, others are gut wrenching, but all are unapologetically human and remind us that every success and every setback is accompanied by a choice, and that choice answers one.

Each week, I sit down with a guest to talk about the times they were knocked off course and what they did to move forward. Some stories are funny, others are gut wrenching, but all are unapologetically human and remind us that every success and every setback is accompanied by a choice, and that choice answers one.

Question, now what. I remember we were doing the twenty four Hour Plays.

Question, now what. I remember we were doing the twenty four Hour Plays.

We were doing that commercial after nine to eleven, and when anybody, when the director or someone will say does anybody have any questions, You'd always raise your hands and it would be something. And then I'd be like, oh, do I have to make fun of her for this? Because like maybe I can how you want to make fun of her for this one? But you stood out and you said excuse me, You're like, uh, do you think we could?

We were doing that commercial after nine to eleven, and when anybody, when the director or someone will say does anybody have any questions, You'd always raise your hands and it would be something. And then I'd be like, oh, do I have to make fun of her for this? Because like maybe I can how you want to make fun of her for this one? But you stood out and you said excuse me, You're like, uh, do you think we could?

Could we stagger? And that was that was your way of saying that.

Could we stagger? And that was that was your way of saying that.

Elaine Stretch's hand when she was doing New York, was covering your face and you didn't want to say, you're covering my face? Yeah, it was Terry mints any and you go could we stagger? And then I went, Jerry, could Beebe's face not be covered by Elaine's hands? My guest today is an icon of the stage m screen. BB Newarth is a Tony An Emmy Award winning actor and dancer. She's well known on Broadway for her star making performances in Sweet Charity and Chicago and One over a new legion of fans in shows like Frasier, Madam, Secretary Julia, just to name a few. Bib is an actor's actor. She's had an enviable career, one built on equal parts talent and hard work.

Elaine Stretch's hand when she was doing New York, was covering your face and you didn't want to say, you're covering my face? Yeah, it was Terry mints any and you go could we stagger? And then I went, Jerry, could Beebe's face not be covered by Elaine's hands? My guest today is an icon of the stage m screen. BB Newarth is a Tony An Emmy Award winning actor and dancer. She's well known on Broadway for her star making performances in Sweet Charity and Chicago and One over a new legion of fans in shows like Frasier, Madam, Secretary Julia, just to name a few. Bib is an actor's actor. She's had an enviable career, one built on equal parts talent and hard work.

I have been a.

I have been a.

Fan of hers for years and was so honored that she agreed to share lessons from her incredible journey with me. So, without further ado, here is BB Newarth. BB Newarth, thank you so much. I'm so happy that you said yes to come and join the show and talk to me.

Fan of hers for years and was so honored that she agreed to share lessons from her incredible journey with me. So, without further ado, here is BB Newarth. BB Newarth, thank you so much. I'm so happy that you said yes to come and join the show and talk to me.

Where are you right now?

Where are you right now?

Happy to be talking to you, Brooke. Every time we bump into each other, we have to sit down for an hour and talk and catch up. So I'm so grateful that you invited me to come on your show. I'm down in Greenwich Village where I live in New York City.

Happy to be talking to you, Brooke. Every time we bump into each other, we have to sit down for an hour and talk and catch up. So I'm so grateful that you invited me to come on your show. I'm down in Greenwich Village where I live in New York City.

By the way, I don't need to have a podcast to sit down for an hour and talk with you.

By the way, I don't need to have a podcast to sit down for an hour and talk with you.

I will. I will do that anytime you want.

I will. I will do that anytime you want.

You know, it's funny because I was to do just a little extra research.

You know, it's funny because I was to do just a little extra research.

And I didn't know you were born in Newark.

And I didn't know you were born in Newark.

I was.

I was.

I love that my mother was born in Newark.

I love that my mother was born in Newark.

Well, I hate to break it to you, but I was in my being in Newark. Was that's where the hospital was. But when I was you know, so I was born in the hospital in Newark, and then I was taken home to Princeton, New Jersey, where I I want to get to say, yeah, I'm a Jersey girl.

Well, I hate to break it to you, but I was in my being in Newark. Was that's where the hospital was. But when I was you know, so I was born in the hospital in Newark, and then I was taken home to Princeton, New Jersey, where I I want to get to say, yeah, I'm a Jersey girl.

That's okay.

That's okay.

You can get both because you were born there so you still have that in your blood. And then you were raised in Princeton, which I spent four years or the best years of my life there.

You can get both because you were born there so you still have that in your blood. And then you were raised in Princeton, which I spent four years or the best years of my life there.

I remember when you were at the school there there were people walking around the campus with buttons that said, yes, I've seen Brooke.

I remember when you were at the school there there were people walking around the campus with buttons that said, yes, I've seen Brooke.

I you know, luckily that wore off pretty quickly.

I you know, luckily that wore off pretty quickly.

Like freshman the first part of freshman month was a little bit was a little bit tough.

Like freshman the first part of freshman month was a little bit was a little bit tough.

That must have been awful. It must have been hard enough to go to college and then have people staring at you well.

That must have been awful. It must have been hard enough to go to college and then have people staring at you well.

And then the people that you wanted to be friends with were trying to give you space. So I had no friends, a lot of space that I didn't want, and so everybody was trying to be so cool, and you know, as an adjustment, I started feeling guilty for putting that on anybody. It's hard enough being a freshman. But what kind of a young person were you? Personality wise? How would you describe who you were? Who was I was?

And then the people that you wanted to be friends with were trying to give you space. So I had no friends, a lot of space that I didn't want, and so everybody was trying to be so cool, and you know, as an adjustment, I started feeling guilty for putting that on anybody. It's hard enough being a freshman. But what kind of a young person were you? Personality wise? How would you describe who you were? Who was I was?

Babybould say that I was a bad girl who behaved herself.

Babybould say that I was a bad girl who behaved herself.

Oh, oh, I'm living I'm living vicariously through you right now.

Oh, oh, I'm living I'm living vicariously through you right now.

Well, I did get arrested for smoking marijuana when I was thirteen.

Well, I did get arrested for smoking marijuana when I was thirteen.

Now it's like, really walk outside your front door.

Now it's like, really walk outside your front door.

But you know, when you're thirteen and it's nineteen seventy two, it's it was different.

But you know, when you're thirteen and it's nineteen seventy two, it's it was different.

I love that you have a record, Newarth has a record. That's what I want. I want as a poster.

I love that you have a record, Newarth has a record. That's what I want. I want as a poster.

But that's why I say I was a bad girl who behaved myself. Was like, yes, I was smoking dope when I was in my very early teens, but it's like, is that really I wasn't dealing heroin?

But that's why I say I was a bad girl who behaved myself. Was like, yes, I was smoking dope when I was in my very early teens, but it's like, is that really I wasn't dealing heroin?

No, No, I'm glad you I know. I'm glad. You know where to drop the line.

No, No, I'm glad you I know. I'm glad. You know where to drop the line.

Smoking a pipe with some you know, it's like not that big a deal.

Smoking a pipe with some you know, it's like not that big a deal.

But and they held you, They held you there.

But and they held you, They held you there.

You had to Did you have to call your parents or someone to come and get you.

You had to Did you have to call your parents or someone to come and get you.

Yeah, to it. We were at a dance. Remember, oh, you'd know this place. It's it's on the it's on the campus. There was a dance. There's this There was a great high school band, some great musicians at Princeton High. They had a band called Fordham Road and they were playing and my friend Kathy and I went to this dance and then I slipped out to smoke some dope with some friends of mine and we were sitting on the grass and passing this pipe to other people and these flashlights came around and they were cops. And this is how stupid I am, Brookshields. I was across the street from the cops station.

Yeah, to it. We were at a dance. Remember, oh, you'd know this place. It's it's on the it's on the campus. There was a dance. There's this There was a great high school band, some great musicians at Princeton High. They had a band called Fordham Road and they were playing and my friend Kathy and I went to this dance and then I slipped out to smoke some dope with some friends of mine and we were sitting on the grass and passing this pipe to other people and these flashlights came around and they were cops. And this is how stupid I am, Brookshields. I was across the street from the cops station.

And you're a towny sex drugs old Brook.

And you're a towny sex drugs old Brook.

It was sex, drugs, rock and roll.

It was sex, drugs, rock and roll.

Oh god, yes, no, but what but like being a student being a towny, I say, I always was worried that like they hated us, that they liked hated the college kids.

Oh god, yes, no, but what but like being a student being a towny, I say, I always was worried that like they hated us, that they liked hated the college kids.

I had no consciousness of that. I wasn't.

I had no consciousness of that. I wasn't.

Oh that's good.

Oh that's good.

As you can see from talking to me, I really didn't know what was going on.

As you can see from talking to me, I really didn't know what was going on.

You were stone. What did you care?

You were stone. What did you care?

I was smoking pot, I was my class. That's all I cared about, boy pot and ballet?

I was smoking pot, I was my class. That's all I cared about, boy pot and ballet?

Did you always know that you wanted to dance? Like? Oh you did?

Did you always know that you wanted to dance? Like? Oh you did?

Actually? Actually, when I was funny you mentioned Newark Because when I was born, the doctor pulled me from my mother and said, oh, she's a dancer.

Actually? Actually, when I was funny you mentioned Newark Because when I was born, the doctor pulled me from my mother and said, oh, she's a dancer.

Really, yes, Oh, come on, that's amazing.

Really, yes, Oh, come on, that's amazing.

I asked for ballet classes when I was four. My mother had me wait until I was five because of five year old's attention span is a little bit longer than a four year old's. And so I started dancing when I was five at Princeton Ballet and I danced in this, you know, non professional ballet company all through high school, and then I went to Juilliard in the dance department, and then I quit Juilliard in the dance department after one year, and then I just started working. But you know, when I say to you, I'm a dancer first, it's sort of I sort of feel like that's the animal that I am. You know that some people are jocks, that is that's what they are, that is their true nature. So I feel like when I say, well, I'm a dancer first, it's because I that's the animal that I am. And so you know, i might be doing a television show where I'm talking and listening, but I always feel like just because I'm not dancing doesn't mean I'm not dancing. I think that's why it's always a little bit awkward when I don't get to dance in something. I feel a little bit Okay, I'm doing it inside, but it might not be showing outside.

I asked for ballet classes when I was four. My mother had me wait until I was five because of five year old's attention span is a little bit longer than a four year old's. And so I started dancing when I was five at Princeton Ballet and I danced in this, you know, non professional ballet company all through high school, and then I went to Juilliard in the dance department, and then I quit Juilliard in the dance department after one year, and then I just started working. But you know, when I say to you, I'm a dancer first, it's sort of I sort of feel like that's the animal that I am. You know that some people are jocks, that is that's what they are, that is their true nature. So I feel like when I say, well, I'm a dancer first, it's because I that's the animal that I am. And so you know, i might be doing a television show where I'm talking and listening, but I always feel like just because I'm not dancing doesn't mean I'm not dancing. I think that's why it's always a little bit awkward when I don't get to dance in something. I feel a little bit Okay, I'm doing it inside, but it might not be showing outside.

Yeah.

Yeah.

But also there's a there's a lyricism to it, you know, to all of it, to the rhythm of your voice, to the sort of flow that happens when you're.

But also there's a there's a lyricism to it, you know, to all of it, to the rhythm of your voice, to the sort of flow that happens when you're.

In a part.

In a part.

You know, I mean, there's it's not as if I mean, I don't know, but whenever I've watched you on stage or off, there's no sort of just a beginning, middle, and an end. When you first see you, you think that there's something that you might have missed from before. But then when you last see you, for that moment, you're still thinking of the continuation of the.

You know, I mean, there's it's not as if I mean, I don't know, but whenever I've watched you on stage or off, there's no sort of just a beginning, middle, and an end. When you first see you, you think that there's something that you might have missed from before. But then when you last see you, for that moment, you're still thinking of the continuation of the.

Piece of music or the whatever.

Piece of music or the whatever.

And I know that sounds all kind of lofty, but there's something very beautiful and about the physicality, and it's just in your body, you know, And you can tell that.

And I know that sounds all kind of lofty, but there's something very beautiful and about the physicality, and it's just in your body, you know, And you can tell that.

Brook. That's one of the nicest things anybody's ever said to me. I Am, that is so beautiful. I'm so grateful that you said that. That is a beautiful observation and that's really moving.

Brook. That's one of the nicest things anybody's ever said to me. I Am, that is so beautiful. I'm so grateful that you said that. That is a beautiful observation and that's really moving.

Thank you, well, thank you. Listen.

Thank you, well, thank you. Listen.

I've had the the fear and the distinct honor of actually having to step into your shoes on Broadway, and that was daunting for me to do when you were leaving Adam's family, and then to sort of be this first replacement.

I've had the the fear and the distinct honor of actually having to step into your shoes on Broadway, and that was daunting for me to do when you were leaving Adam's family, and then to sort of be this first replacement.

There's so much pressure in it.

There's so much pressure in it.

And I was very acutely aware of that, and it was it was not only an honor, but it was also I thought, God, I want to live up to It's different because you don't want to compare, but you also want to make sure that you honor the person who performed prior.

And I was very acutely aware of that, and it was it was not only an honor, but it was also I thought, God, I want to live up to It's different because you don't want to compare, but you also want to make sure that you honor the person who performed prior.

It's a really.

It's a really.

Interesting position to be in, and I have been in it myself. I replaced, I've replaced. I played the role of Spider Woman in Kiss of the Spider Woman after Cheea Rivera did. No one can replace Cheeta Rivera, you know, she was playing in Spider Woman, and then the next person to play that part was me. So I can't say that I replaced her, but I'd say I played the part next. And so I understand the conundrum of stepping into a role that is created by somebody else, doesn't matter who it is. Really, It's a very good lesson in humility, but also in being true to yourself and recognizing what you have. You know, my Morticia is not your mortician. Your Morticio is not mine. But the role has been created and it happened to be created by me. So now you have to come in and go, Okay, what did she create? And how can I be true to myself in doing that? Because the minute you stop being true to yourself in any part, in any walk of life, you're sunk.

Interesting position to be in, and I have been in it myself. I replaced, I've replaced. I played the role of Spider Woman in Kiss of the Spider Woman after Cheea Rivera did. No one can replace Cheeta Rivera, you know, she was playing in Spider Woman, and then the next person to play that part was me. So I can't say that I replaced her, but I'd say I played the part next. And so I understand the conundrum of stepping into a role that is created by somebody else, doesn't matter who it is. Really, It's a very good lesson in humility, but also in being true to yourself and recognizing what you have. You know, my Morticia is not your mortician. Your Morticio is not mine. But the role has been created and it happened to be created by me. So now you have to come in and go, Okay, what did she create? And how can I be true to myself in doing that? Because the minute you stop being true to yourself in any part, in any walk of life, you're sunk.

Why did you leave Julliard after a year.

Why did you leave Julliard after a year.

I wanted to work. I was just you know, when I graduated, you know, as I was looking to see if I Princeton I would let me graduate in school, I was like, am I going to get out of here? I don't know. I you know, I said I didn't want to go to college. I just wanted to go to New York and dance. And my parents said, you have to go to college. I said, I don't want to go to college. I said, you have to go to college. I said, okay. So in nineteen seventy six, when I graduated high school, there were two schools pretty much for that, and that was Sunni at Purchase and there was Juilliard, and so I auditioned for both and I got into both. And I chose Juilliard because it was in New York City. And then I just wanted to start working. I wanted to start auditioning, you know, I was eighteen. I was let me get going. And so my parents, who are really creative, brilliant people, said, okay, create your own college within the city. Find yourself some acting classes and voice classes and dance classes and all that, and we will support you in that, and that will be the college that you create in the city. So I did that for about It was almost a year when I got my first job.

I wanted to work. I was just you know, when I graduated, you know, as I was looking to see if I Princeton I would let me graduate in school, I was like, am I going to get out of here? I don't know. I you know, I said I didn't want to go to college. I just wanted to go to New York and dance. And my parents said, you have to go to college. I said, I don't want to go to college. I said, you have to go to college. I said, okay. So in nineteen seventy six, when I graduated high school, there were two schools pretty much for that, and that was Sunni at Purchase and there was Juilliard, and so I auditioned for both and I got into both. And I chose Juilliard because it was in New York City. And then I just wanted to start working. I wanted to start auditioning, you know, I was eighteen. I was let me get going. And so my parents, who are really creative, brilliant people, said, okay, create your own college within the city. Find yourself some acting classes and voice classes and dance classes and all that, and we will support you in that, and that will be the college that you create in the city. So I did that for about It was almost a year when I got my first job.

That's a big decision, though, to make as of a young person.

That's a big decision, though, to make as of a young person.

Oh, I never even a whisper of a shadow of a doubt in my mind. It was just let me get started.

Oh, I never even a whisper of a shadow of a doubt in my mind. It was just let me get started.

How did you get your first job?

How did you get your first job?

I went to open calls and I went to you know, you get the backstage or on Thursdays show business and backstage came out and you get them and you go through and look at all where the auditions were and what has open calls? And I went to the the first open call I think I went to for chorus line. I was still eighteen, and I got cut right away. I was really, really, really too young. And then I went, I don't know, six months later and I got a little further in the audition, and then I remember it was another few months later. It said only people who have not previously auditioned apply, and I went, well, screw that, I'm glad.

I went to open calls and I went to you know, you get the backstage or on Thursdays show business and backstage came out and you get them and you go through and look at all where the auditions were and what has open calls? And I went to the the first open call I think I went to for chorus line. I was still eighteen, and I got cut right away. I was really, really, really too young. And then I went, I don't know, six months later and I got a little further in the audition, and then I remember it was another few months later. It said only people who have not previously auditioned apply, and I went, well, screw that, I'm glad.

I'm just going to pretend I didn't yeah going.

I'm just going to pretend I didn't yeah going.

And so I went, And that's that's the one. I got called back and called back and called back and called back, and that's when they finally hired me. And I was nineteen nineteen.

And so I went, And that's that's the one. I got called back and called back and called back and called back, and that's when they finally hired me. And I was nineteen nineteen.

Oh my god, and then you win a Tony by the time you're.

Oh my god, and then you win a Tony by the time you're.

Twenty seven, twenty seven. The first one was twenty seven.

Twenty seven, twenty seven. The first one was twenty seven.

Yeah, the first one. Doesn't that feel good? The first one? The first of.

Yeah, the first one. Doesn't that feel good? The first one? The first of.

Wait, if you were smoking again, I would just do a little inhale, then go for the first one, the first one, and then you'd ask.

Wait, if you were smoking again, I would just do a little inhale, then go for the first one, the first one, and then you'd ask.

I was just trying to be accurate. I'm sorry, Oh.

I was just trying to be accurate. I'm sorry, Oh.

I love it. No, please, that's my bad. But my god, So what did that feel like?

I love it. No, please, that's my bad. But my god, So what did that feel like?

Out of body? Just completely so real and out of body? And that was the first time I think I ever had to be on stage as myself. I have never ever had a moment of stage fright in my life. But when they called my name and I had to go on stage and it was me out there, Oh man, I froze. I didn't know what I it was.

Out of body? Just completely so real and out of body? And that was the first time I think I ever had to be on stage as myself. I have never ever had a moment of stage fright in my life. But when they called my name and I had to go on stage and it was me out there, Oh man, I froze. I didn't know what I it was.

But that's a real thing, and I think just it's kind of very metaphor people, but I do really think that that's a that's a very important piece of it. So that's stage. And then you book a job on Cheers as Lilith. How do you get from because that's la right?

But that's a real thing, and I think just it's kind of very metaphor people, but I do really think that that's a that's a very important piece of it. So that's stage. And then you book a job on Cheers as Lilith. How do you get from because that's la right?

Yeah, you know what happened. I when we did the revival of Sweet Charity. We rehearsed and opened that in La at the Drothy Chandler, and then we did it in San Francisco, and then we had four months off before we rehearsed for Broadway. And during those four months, that was so that Debbie Allen, our star, would finish her series of Fame. And so during those four months, I hung out in LA and I got a couple of auditions for some walk on parts and some television shows, because that's sort of what you do, I guess, and I got a couple of walk on lines and one of them was, you know, this little scene on Cheers. So that's all it was. It was just one of those, you know jobs. And then so I did that, and then I went home to New York and I started up Sweet Charity on Broadway. And then Cheers called and they say, can you come back and do that part again? And I went, oh, and I had, like.

Yeah, you know what happened. I when we did the revival of Sweet Charity. We rehearsed and opened that in La at the Drothy Chandler, and then we did it in San Francisco, and then we had four months off before we rehearsed for Broadway. And during those four months, that was so that Debbie Allen, our star, would finish her series of Fame. And so during those four months, I hung out in LA and I got a couple of auditions for some walk on parts and some television shows, because that's sort of what you do, I guess, and I got a couple of walk on lines and one of them was, you know, this little scene on Cheers. So that's all it was. It was just one of those, you know jobs. And then so I did that, and then I went home to New York and I started up Sweet Charity on Broadway. And then Cheers called and they say, can you come back and do that part again? And I went, oh, and I had, like.

I can only do it on a Monday, right, They.

I can only do it on a Monday, right, They.

Had, like I like to say, it's like snow days. Like I could in my contract for Sweet Charity, I could walk a week to do a TV show, but I had to add that week to the end of my contract.

Had, like I like to say, it's like snow days. Like I could in my contract for Sweet Charity, I could walk a week to do a TV show, but I had to add that week to the end of my contract.

So you're doing Sweet Charity for like nine more years.

So you're doing Sweet Charity for like nine more years.

Because you keep but no. So I took off a week and I went out to LA and I did another Cheers episode, and then I came back and I did that like maybe twice. And I remember sitting backstage with Michael Rupert, who was playing Oscar. He said, what are you going to do when they asked you to be on Cheers full time? I said, that's not going to happen. They're not going to ask me to do that.

Because you keep but no. So I took off a week and I went out to LA and I did another Cheers episode, and then I came back and I did that like maybe twice. And I remember sitting backstage with Michael Rupert, who was playing Oscar. He said, what are you going to do when they asked you to be on Cheers full time? I said, that's not going to happen. They're not going to ask me to do that.

So what happened when they did?

So what happened when they did?

So? They did, and I got the advice of the four people that I trusted most, that is Mommy, daddyk Yes, Bob Fosse, and Gwen Verdon.

So? They did, and I got the advice of the four people that I trusted most, that is Mommy, daddyk Yes, Bob Fosse, and Gwen Verdon.

Come on, it's funny. Those are my people too, Babe, her parents, Bob.

Come on, it's funny. Those are my people too, Babe, her parents, Bob.

So I was in a position, you know that where I was working, you know, I actually could ask ask them all and they all gave me brilliant advice and made me feel very good about a decision to take the job, because I really I had never seen myself doing television. I had never saw that for myself. I never thought I'm going to do this, and I'm gonna do television. I just thought, I'm just going to dance on Broadway forever.

So I was in a position, you know that where I was working, you know, I actually could ask ask them all and they all gave me brilliant advice and made me feel very good about a decision to take the job, because I really I had never seen myself doing television. I had never saw that for myself. I never thought I'm going to do this, and I'm gonna do television. I just thought, I'm just going to dance on Broadway forever.

And the accolades that you got and the you know awards that you got doing that, that was that. You know, it was such an important period of time to did you so were you?

And the accolades that you got and the you know awards that you got doing that, that was that. You know, it was such an important period of time to did you so were you?

Were you married then?

Were you married then?

Very badly?

Very badly?

Oh?

Oh?

Oh well we all have to have a starter marriage.

Oh well we all have to have a starter marriage.

Oh I have one of those.

Oh I have one of those.

Did it happen?

Did it happen?

But you were married early early, right twenty five?

But you were married early early, right twenty five?

It was a it was that was no good? That was it was interesting. I was doing the best show on television. I mean, it was getting awards for you know, best comedy series, winning this, Emmy awards for this, and I'm getting all this stuff and I'm doing really well well in that an absolutely miserable marriage. It was the kind of thing where I had to go, that's it, it's over, and get out of there.

It was a it was that was no good? That was it was interesting. I was doing the best show on television. I mean, it was getting awards for you know, best comedy series, winning this, Emmy awards for this, and I'm getting all this stuff and I'm doing really well well in that an absolutely miserable marriage. It was the kind of thing where I had to go, that's it, it's over, and get out of there.

But that, I mean, that takes a lot of guts and thank God that you are able to make that decision for yourself. I mean, you know, it's terrifying, but you knew you had to. Did that experience sort of shape you in sort of how you went forward into your career and your life after that? Knowing that you made that decision for yourself.

But that, I mean, that takes a lot of guts and thank God that you are able to make that decision for yourself. I mean, you know, it's terrifying, but you knew you had to. Did that experience sort of shape you in sort of how you went forward into your career and your life after that? Knowing that you made that decision for yourself.

I don't think it had anything to do with career, because career and creativity has always been completely separate from romantic life. So I don't think anything that happened, you know, a miserable marriage and a horrible divorce didn't change the way I approached the performing arts or my life in it right, But I would say that I was very nervous about getting involved. I'm not getting married again. Then it was like, okay, I'm not going to live with anyone again. It was like, okay, you can live across the street from me.

I don't think it had anything to do with career, because career and creativity has always been completely separate from romantic life. So I don't think anything that happened, you know, a miserable marriage and a horrible divorce didn't change the way I approached the performing arts or my life in it right, But I would say that I was very nervous about getting involved. I'm not getting married again. Then it was like, okay, I'm not going to live with anyone again. It was like, okay, you can live across the street from me.

But were there were there were there things that you felt like you had to sacrifice in your personal life to keep that career going at the trajectory it was on.

But were there were there were there things that you felt like you had to sacrifice in your personal life to keep that career going at the trajectory it was on.

I don't know. Maybe I did, but I wasn't conscious of it. I don't know. I've never been, like I kind of said earlier, I've never been a person who plans things out. I've never been a schemer. I've never been I like to say I'm not ambitious, because I think of ambition as somebody sitting down with a notebook and going, Okay, here's what I'm going to do, right, and then in five years, I'm going to do this and if I meet this person, if I do this. I've never been like that. It's been it's always been like, I really want to get a job. This is what I want to do. I want to dance on Broadway and anything that I saw that crossed my path that was an audition, you know, I would go to in order to do that.

I don't know. Maybe I did, but I wasn't conscious of it. I don't know. I've never been, like I kind of said earlier, I've never been a person who plans things out. I've never been a schemer. I've never been I like to say I'm not ambitious, because I think of ambition as somebody sitting down with a notebook and going, Okay, here's what I'm going to do, right, and then in five years, I'm going to do this and if I meet this person, if I do this. I've never been like that. It's been it's always been like, I really want to get a job. This is what I want to do. I want to dance on Broadway and anything that I saw that crossed my path that was an audition, you know, I would go to in order to do that.

There's something about dance that I think is I know what you mean about the word ambition, but I always think of it in terms of a striving.

There's something about dance that I think is I know what you mean about the word ambition, but I always think of it in terms of a striving.

You know.

You know.

It's that you strive to keep getting better at your craft, and you dance even when it hurts, and you keep going when you don't think you can go anymore. And to me, that's a form of ambition. But it's really just a perseverance and a striving and that can that can take a toll on a person physically. I mean, did you find that your commitment to sort of to dancing took a toll on your body physically?

It's that you strive to keep getting better at your craft, and you dance even when it hurts, and you keep going when you don't think you can go anymore. And to me, that's a form of ambition. But it's really just a perseverance and a striving and that can that can take a toll on a person physically. I mean, did you find that your commitment to sort of to dancing took a toll on your body physically?

Oh? Yeah, I'm a beat uple. Every time I go to like, let's say I go to a new massage therapist and they go, is there anything bothering you right now? I go Okay, here we go. I am a beat up old dancer. I had two hip replacements, one when I was forty seven and the other when I was forty nine.

Oh? Yeah, I'm a beat uple. Every time I go to like, let's say I go to a new massage therapist and they go, is there anything bothering you right now? I go Okay, here we go. I am a beat up old dancer. I had two hip replacements, one when I was forty seven and the other when I was forty nine.

And then did you do Chicago again after after them?

And then did you do Chicago again after after them?

Yeah?

Yeah?

Okay, come on, you're so you get two hip replacements, then you go back into Fossy, which is all about twisting it all and all of that. Was that the best thing you could have ever done?

Okay, come on, you're so you get two hip replacements, then you go back into Fossy, which is all about twisting it all and all of that. Was that the best thing you could have ever done?

I mean it like, did it.

I mean it like, did it.

Make you see? No?

Make you see? No?

I think it was. Maybe.

I think it was. Maybe.

Honestly, I think that might have been the best thing for a dancer to get hip replacements and then go do Fossy and know you can do it.

Honestly, I think that might have been the best thing for a dancer to get hip replacements and then go do Fossy and know you can do it.

Well, yes, I mean psychologically emotionally it was extremely important. But I'll tell you I was still I was. I was. I was definitely off crutches. I may or may not have still had a cane when I went to Barry Weissler and said, I'd like to play Roxy? What do you think of that? So I played Roxy six months after I had my first hip replacement.

Well, yes, I mean psychologically emotionally it was extremely important. But I'll tell you I was still I was. I was. I was definitely off crutches. I may or may not have still had a cane when I went to Barry Weissler and said, I'd like to play Roxy? What do you think of that? So I played Roxy six months after I had my first hip replacement.

What was your recovery process like for your hips?

What was your recovery process like for your hips?

Well, like I say, this was this was a while ago, and they had the way they do it now. You are up and out and back and running around when I was doing it. And it was when I said I was in ballet class eight weeks after my hip replacement, jaws would drop. But now people I actually said that to someone, They said, really that long.

Well, like I say, this was this was a while ago, and they had the way they do it now. You are up and out and back and running around when I was doing it. And it was when I said I was in ballet class eight weeks after my hip replacement, jaws would drop. But now people I actually said that to someone, They said, really that long.

I was like, wow, wow.

I was like, wow, wow.

But you also went in very fit and very and your muscle memory as a dancer is that? Was it after that that you started the Dancer's Resource Program.

But you also went in very fit and very and your muscle memory as a dancer is that? Was it after that that you started the Dancer's Resource Program.

I started the Dancer's Resource in between my two hip replacements. Actually, so you.

I started the Dancer's Resource in between my two hip replacements. Actually, so you.

Had one and then the other. Okay, you didn't get them both done at this No, okay, there.

Had one and then the other. Okay, you didn't get them both done at this No, okay, there.

Was two years in between.

Was two years in between.

My right one was okay, so you start the Dancer's Resource Program.

My right one was okay, so you start the Dancer's Resource Program.

It's very important. I want you to have a chance to talk about that.

It's very important. I want you to have a chance to talk about that.

Thank you. Well. I started the Dancers Resource after I'd been through the emotional and physical trauma really of the arthritis that i'd had in my hip and then the subsequent replacement, and I had recovered and I was doing fine, I was dancing again, but I recognized that this is it's traumatic. And I had a friend who was having a real, really really hard time with her hip and with her surgeries, and I thought, I wish you had someone to talk to about this, a therapist to talk to, or someone to talk to. And so I was on the board of trustees at the Actor's Fund and the Actor's Fund which is a human services organization for everyone in show business and the performing arts, and in fact now it's called the Entertainment Community Fund. So I was on the board of trustees and I said, can we have a program for dancers? I said, it should be like group therapy for injured dancers, but I'll call it Injured Dancers Anonymous. It has to be private. No one can know that. You know, there is so much stigma around being injured. If you're a dancer and you have to be so secretive about it. You cannot show weakness.

Thank you. Well. I started the Dancers Resource after I'd been through the emotional and physical trauma really of the arthritis that i'd had in my hip and then the subsequent replacement, and I had recovered and I was doing fine, I was dancing again, but I recognized that this is it's traumatic. And I had a friend who was having a real, really really hard time with her hip and with her surgeries, and I thought, I wish you had someone to talk to about this, a therapist to talk to, or someone to talk to. And so I was on the board of trustees at the Actor's Fund and the Actor's Fund which is a human services organization for everyone in show business and the performing arts, and in fact now it's called the Entertainment Community Fund. So I was on the board of trustees and I said, can we have a program for dancers? I said, it should be like group therapy for injured dancers, but I'll call it Injured Dancers Anonymous. It has to be private. No one can know that. You know, there is so much stigma around being injured. If you're a dancer and you have to be so secretive about it. You cannot show weakness.

Because you'll be replaced, or you'll because there's someone right behind you.

Because you'll be replaced, or you'll because there's someone right behind you.

Yeah, it's dancers are on the bottom of the food chain in the performing arts. We are the least respected, We get paid less than everybody else.

Yeah, it's dancers are on the bottom of the food chain in the performing arts. We are the least respected, We get paid less than everybody else.

There's no physical therapy. It's maybe five minutes a week.

There's no physical therapy. It's maybe five minutes a week.

It's really it's just we need a little bit of extra help. And so we brought the idea to the board and the board said yes, and bless the Fund for saying yes. So Now, there is something called the Dancers Resource at the Entertainment Community Fund, and it's a portal to the rest of the services that the Fund has to offer. But it also has these groups where you can go for eight weeks of sessions and sit with other dancers with a social worker who is a dedicated social worker, and it's completely confidential. And I'm so so pleased that it's up and going and the Fund is running it so beautifully.

It's really it's just we need a little bit of extra help. And so we brought the idea to the board and the board said yes, and bless the Fund for saying yes. So Now, there is something called the Dancers Resource at the Entertainment Community Fund, and it's a portal to the rest of the services that the Fund has to offer. But it also has these groups where you can go for eight weeks of sessions and sit with other dancers with a social worker who is a dedicated social worker, and it's completely confidential. And I'm so so pleased that it's up and going and the Fund is running it so beautifully.

Well, you're making a huge difference in many a dancer's lives. I call the show now What because it's about the pivotal moments in life that sort of force us to refocus and keep going. What do you think a big now what moment was for you?

Well, you're making a huge difference in many a dancer's lives. I call the show now What because it's about the pivotal moments in life that sort of force us to refocus and keep going. What do you think a big now what moment was for you?

I don't know. I mean, I don't think. I consciously say now what do I do? I just go, Hey, it looks like I need a lawyer, but I left this miserable relationship. I'd better get a lawyer, you know, I owned now what?

I don't know. I mean, I don't think. I consciously say now what do I do? I just go, Hey, it looks like I need a lawyer, but I left this miserable relationship. I'd better get a lawyer, you know, I owned now what?

I mean.

I mean.

I'm always I'm always looking to learn from experiences. I mind, now what's are all the time? Too? And I just go oh, and then I pivot. I don't ever wallow in the in the the inactivity. It's just not the way I'm programmed. But I'm curious if there was an experience that taught you something. I mean, do you ever read reviews? I didn't ask you that question.

I'm always I'm always looking to learn from experiences. I mind, now what's are all the time? Too? And I just go oh, and then I pivot. I don't ever wallow in the in the the inactivity. It's just not the way I'm programmed. But I'm curious if there was an experience that taught you something. I mean, do you ever read reviews? I didn't ask you that question.

Oh that's the no. I don't read reviews, and I don't read reviews because Bob taught me not to read reviews. My family and a friend of mine and I were leaving the opening night party for Sweet Charity and we bumped into Bob and was coming back into the ballroom and we were on our way out, and goes, where are you going? Where you're going? And I'm go, oh, we're going to go home. We're going to go read the reviews. He goes, don't don't do that. Don't read the reviews. Don't read the reviews.

Oh that's the no. I don't read reviews, and I don't read reviews because Bob taught me not to read reviews. My family and a friend of mine and I were leaving the opening night party for Sweet Charity and we bumped into Bob and was coming back into the ballroom and we were on our way out, and goes, where are you going? Where you're going? And I'm go, oh, we're going to go home. We're going to go read the reviews. He goes, don't don't do that. Don't read the reviews. Don't read the reviews.

Did he say why?

Did he say why?

He didn't say it. That's all they said, don't read the reviews. And he said it a couple of times. And we left, and I had this little thing in my mind, you know, you know, with my family and all happy and la la la la lab, but there is something in the back I you know, I try to keep Bob's voice in the back of my mind. Certainly when I'm working in the performing arts, but that was deeply lodge. It was right there, and so we went and got the papers, and as I read the reviews, I had Bob's voice and that lesson with me. As I read the reviews, and I went right, they don't mean anything. There is no reason to read a review. I believe this is me and everybody's a different artist and they have to do what they have to do. But for me, I have I said that way. I have no reason to read a review. It does no good, It can only harm me. What matters when I do a show or perform is how I feel, how my colleagues feel, how the audience in that moment feels, and that's all that matters. You know, with respect to critics, there are good ones or bad ones, but that's one person coming in to do their job in their life, to write something for their work. It has nothing to do with me and my life and my work.

He didn't say it. That's all they said, don't read the reviews. And he said it a couple of times. And we left, and I had this little thing in my mind, you know, you know, with my family and all happy and la la la la lab, but there is something in the back I you know, I try to keep Bob's voice in the back of my mind. Certainly when I'm working in the performing arts, but that was deeply lodge. It was right there, and so we went and got the papers, and as I read the reviews, I had Bob's voice and that lesson with me. As I read the reviews, and I went right, they don't mean anything. There is no reason to read a review. I believe this is me and everybody's a different artist and they have to do what they have to do. But for me, I have I said that way. I have no reason to read a review. It does no good, It can only harm me. What matters when I do a show or perform is how I feel, how my colleagues feel, how the audience in that moment feels, and that's all that matters. You know, with respect to critics, there are good ones or bad ones, but that's one person coming in to do their job in their life, to write something for their work. It has nothing to do with me and my life and my work.

I don't read reviews either, because I read them years and years back, and I read them because I wanted approval, and I wanted a pat on my back and I wanted to be told I was doing a good job. And it has had nothing to do with what I was going to do the next night, the next show, And if someone said I sucked, was I going to go out on stage and just stand there and say, I'm sorry, I suck.

I don't read reviews either, because I read them years and years back, and I read them because I wanted approval, and I wanted a pat on my back and I wanted to be told I was doing a good job. And it has had nothing to do with what I was going to do the next night, the next show, And if someone said I sucked, was I going to go out on stage and just stand there and say, I'm sorry, I suck.

I can't give you a show that you just paid for.

I can't give you a show that you just paid for.

Well, what we do is, you know, if you're an artist or a creative person or a crafts person, it is a at least for me, it is a deeply, deeply personal, very profound experience. It is so personal it has nothing to do with anybody else I work with and share that with my colleagues. I share it with my choreographer, director, music director, and we make something and it is always very very deep and profound and personal to me. To have somebody come in and, you know, to go, oh, let's see what this stranger says about me, it just doesn't make sense. But it wasn't until I had the voice of an artist who I trusted completely, Bob Fosse. I completely trusted him, and I trusted that he saw me and who I was as a performer that when he said that, I just he said jump. I said how high? I know that will be best for me. So when he says don't read reviews. It's because it's the right thing to not do.

Well, what we do is, you know, if you're an artist or a creative person or a crafts person, it is a at least for me, it is a deeply, deeply personal, very profound experience. It is so personal it has nothing to do with anybody else I work with and share that with my colleagues. I share it with my choreographer, director, music director, and we make something and it is always very very deep and profound and personal to me. To have somebody come in and, you know, to go, oh, let's see what this stranger says about me, it just doesn't make sense. But it wasn't until I had the voice of an artist who I trusted completely, Bob Fosse. I completely trusted him, and I trusted that he saw me and who I was as a performer that when he said that, I just he said jump. I said how high? I know that will be best for me. So when he says don't read reviews. It's because it's the right thing to not do.

That was a wildly talented bb Newarth. If you liked our interview, check out her work in Julia. It's streaming now on HBO mex That's it for us today.

That was a wildly talented bb Newarth. If you liked our interview, check out her work in Julia. It's streaming now on HBO mex That's it for us today.

Talk to you next week.

Talk to you next week.

Now.

Now.

What with Burkeshields is a production of iHeartRadio. Our lead producer and wonderful showrunner is Julia Weaver. Additional research and editing by Darby Masters and Abu Zafar. Our executive producer is Christina Everett. The show is mixed by Vahid Fraser.

What with Burkeshields is a production of iHeartRadio. Our lead producer and wonderful showrunner is Julia Weaver. Additional research and editing by Darby Masters and Abu Zafar. Our executive producer is Christina Everett. The show is mixed by Vahid Fraser.