Patti Takes a Bow



Who knew Jimmy Fallon was such a musical theater queen? When Broadway superstar Patti LuPone appeared on Late Night With Jimmy Fallon recently and belted a rafters-rattling rendition of “Everything’s Coming Up Roses,” one of her standout solos from Gypsy, the host all but genuflected at her feet. By now, nearly four decades into her storied career, LuPone has surely grown accustomed to such praise and gestures.

All the triumphs, disappointments, friendships, and feuds are recounted in her new book, Patti LuPone: A Memoir (Crown Archetype, $25.99). So many show business memoirs are polite to the point of tedium, but one would never put that label on the famously tempestuous LuPone’s book. Her memoir is simultaneously breezy and rollicking, always refreshingly candid, and often filled with unexpected humility. A star of the first rank since Evita, a role that won the actress her first Tony award in 1980 and haunted her, literally (LuPone writes of receiving three visits from the ghost of Eva Peron), for years, LuPone has starred in hit musicals (revivals of Anything Goes and Sweeney Todd) and dramas (Maria Callas in Master Class) and won wide acclaim for film and television work (including the series Life Goes On and playing Lady Bird Johnson in LBJ).

LuPone is also frequently pragmatic, learning lessons and reaping benefits from unpleasant career lows. She details working with an egomaniacal, unprofessional Topol in The Baker’s Wife yet recognizes the show brought her one of her signature songs, “Meadowlark.” The settlement from her controversial firing (written about in scathing detail here) from Sunset Boulevard paid for “the Andrew Lloyd Webber Memorial swimming pool” at her Connecticut home. And then there's the role many feel she was born to play, Mama Rose in Gypsy,
a triumph that won her a second Tony award as best actress; the
tales of the production open and close her book.

Taking a break from rehearsals for her new show, Women on the Verge of a Nervous Breakdown, a musical adaptation of the torrid 1988 Pedro Almodóvar comedy, LuPone spoke with The Advocate about the show, her juicy new memoir, and Glee’s impact on musical theater.

The Advocate: I have to get this out of the way. A friend who is a big theater queen has this fantasy that you, Audra McDonald, Liza Minnelli, and Bernadette Peters hang out and have karaoke parties. Any chance this has ever happened?
Patti LuPone: [Laughs] No, never! That’s a funny notion, but it doesn’t happen. I mean, I sing with Audra a lot, but I can’t say that I’m friends with Bernadette or Liza. I know them, but I don’t count them among my friends. Broadway is a place of work. My friends are my lifelong friends I’ve had since childhood. But on Broadway you go to work, you do your thing, and you move on.

Despite having won two Tony awards nearly three decades apart, you’re still in the peak of your career. Why did you decide to write your memoir now?
Someone asked me to. It’s not something I thought about, but my friend Amy, who is a literary agent, said, “Now’s the time to do this, Patti.” So I thought, Well, that’s an interesting idea. I knew I had all the material. I have scrapbooks from the beginning of my career, from Juilliard, and photos of all the characters I’ve played, so I knew I had archives to work with. All I had to do was open the scrapbooks and start recalling the stories. I spoke to cast members on shows like The Baker’s Wife and they remembered stuff that I didn’t remember.

Tags: Theater