Enchanted: An Evening With Idina Menzel

My Heart-Shaped Balloon

Anyone who knows me knows that great music and live theater bring me great joy. I have been very fortunate to experience some amazing performances of “Wicked” in the last year and a half. I have watched talented performers literally become someone else through the power of music and emotion. I have been inspired by their dedication, passion, and gratitude. I have gotten to know many of these very kind people, a few of them rather well, and I feel blessed to have their friendship. I realize that there are many people who I have would not have otherwise been able to connect with but for this shared love and appreciation. Music, and the performing arts bring people together in a way that very few things on Earth do.

In the last eighteen months, I have learned a lot about the very exhausting yet exhilarating work of live performers. I appreciate the amount of energy and dedication that goes into the transformation we get to see onstage. There is such fluidity and consistency among the parts of the whole, that you nearly forget that the performers are “real people” and are very separate from the complex characters they portray eight times a week.

The first time I saw Wicked, in October 2009, I was completely enchanted. I was lucky enough to hold a seat in the first row, and I was able to see all of the rich details in the costumes, the authenticity of the props, and, most importantly, the very telling facial expressions. This was my first live theater experience, and I credit the amazing cast of the Second National Touring Company of Wicked for awakening that unlikely spark within me.

Every performer I know will tell you how blessed they feel to be working and to love what they get to do. Exceptional performers make what they do look fun, fresh, and effortless, regardless how many times they have done it before. It might seem like these very talented people are just “dancing through life” and having a glamorous time all of the time. The truth is that these performers take their careers very seriously, and they worked very hard to get where they are. These men and women didn’t just pop into an audition one day for fun. They went to school, hold degrees, and work six days a week.

The first time I saw the show, I was so engaged in the experience, that I believed that Marcie Dodd was Elphaba. She embodied the Elphaba I knew in every possible way. I felt like I was watching Oz unfold less than ten feet in front of me. I left the theater changed, affected in a way I could not fully describe. On the drive home I started thinking about who the performers were. Where did they call home? Were any of them parents? Did any of them have spouses waiting for them?

The impression stayed with me a long time. I wondered what it must be like to travel the country, to change cities every three to four weeks, to literally live with your co-workers. When the holidays came, I thought about the cast and crew and how they were celebrating the holiday season on the road, working. It occurred to me that there must be moments of intense longing for home, for family, for the little things like cooking a meal. I know that the cast becomes family, and that meaningful and lasting friendships are formed, but I also know that it is possible to feel lonely even when you are not really alone.

I am empathetic by nature, and the more I learned about the people behind the makeup, the more compassion I felt. Because of the desire to know and understand, I made connections with several very special people, whom I now consider to be friends. I have traveled to see this wonderful group many times, and there are few things more satisfying than showing love and support in person. I know that it is appreciated. I care about the performers for who they are offstage. I celebrate their accomplishments, and I feel their disappointments. Some of these people hold a very special place in my heart. I have been treated with such kindness, and I have been given so much. This feeling of gratitude is always with me.

The story and music of Wicked is close to my heart for so many reasons, which I could not possibly describe here. But now you know why I carry it wherever I go like a giant heart-shaped balloon.

I have been deeply interested in the early details and little bits of history that made Wicked what it is today. I am in awe of the collaboration of imaginations, and I have a strong appreciation for the creative processes involved in bringing the show to life.

Idina Menzel is one of my very favorite female performers. She originated the role of Maureen in RENT, and the role of Elphaba in Wicked. She is a trailblazer of sorts, and she is a powerful and charismatic performer. When I learned that Idina was doing a series of concerts, I knew I had to see her.

It has been five months since I opened the envelope of tickets with crazy excitement. And finally, Sunday night, I had another incredible opportunity to be part of something very special. I got to spend an evening with Idina Menzel.

My "Enchanted" Evening

Idina Menzel with the St. Louis Symphony
January 23, 2011
The Powell Symphony Hall, St. Louis, Missouri

The Powell Symphony Hall is a gorgeous space just down the street from The (Fabulous) Fox Theater, where Jerry Seinfeld performed the evening before. It was a chilly and snowy afternoon. The snow had been falling all day, and it churred quietly up until the time of the show. Everything shimmered and sparkled. I posed next to Idina’s framed poster in the lobby, and my husband and I found our seats, which happened to be eighth row orchestra. We admired the hall, with its domes and intricate carvings while we listened to parts of the orchestra begin to warm up. As the time of the show grew nearer, musicians filled in the empty spots and if you listened closely enough, you could make out the abbreviated strands of songs like “Defying Gravity,” just as you can in the moments before Wicked begins.

Idina’s composer took his place and finally, the lights went down. A deafening round of applause greeted Idina. She looked happy, healthy, and positively radiant in a deep purple, greek-style, wrap gown. Her shiny dark hair was draped elegantly over one shoulder. No jewelry, no shoes, Idina started off with “Life of the Party.” She sounded smooth, rich, and strong. She carried herself beautifully, and interacted with us often. Between songs, she shared funny stories about her adventures and the songs themselves. Idina was surprisingly funny and a bit sassy. The delivery of her stories was charming, and her comedic timing could not have been better.

Idina talked about her 2008 performance at the Kennedy Center, where she sang for Barbara Streisand before she went into “Funny Girl”, “Don’t Rain On My Parade,” “Love For Sale,” and “Gorgeous,” a song she wrote about the freedom to love whom we love. “Gorgeous,” was one of my favorite songs of the show. It was amazing to see Idina sing with such emotion, and in her own words.

We got to hear “I’m Not That Girl” from Wicked, her first of three songs from the show. You could see her slip back into Elphaba for a few minutes. It was truly something to see.

Then, there was “Poker Face.” Yes she did. She had the St. Louis Symphony playing Gaga. It was really great. Halfway through the first part of the song, Idina stopped the entire orchestra to tell the very funny story about her role on Glee. She was hilarious in her explaination of the how the suggestive lyrics made for an awkward mother-daughter reunion. She continued the song, and through the laughter, she emphasized the “muffin” lyrics, and finished with song with huge applause.

There were other songs that she shared, including ones she had written for her 17-month-old son, Walker Nathaniel Diggs. A bit silly, but extremely endearing, she mixed the songs with sweet stories of new motherhood.

One of the more moving moments of the show was when Idina sang, “No Day But Today,” from RENT. She took a more serious tone when telling the story of Jonathan Larson’s sudden death just prior to the opening of the show. She used the moment to help us understand why she feels so strongly and passionately about her work - that it is her goal to deliver the message. She went on to sing a beautiful and somber “No Day But Today.”

After she thanked us for coming to see her, the symphony for accompanying her, and the hall for hosting her, Idina suddenly and surprisingly lowered her microphone and began to sing, with no instrumentation or amplification of any kind, Elphaba’s lyrics to “For Good.” This was the defining moment of the entire show. There, in the absolute silence, was the most perfect, intimate, delivery of “For Good” that I had ever experienced. The audience roared when she finished. Me? It took my breath away. I didn’t expect her to sing the song, and without any introduction or warning, she just did. It was so beautiful. My eyes instantly burned with impending tears, and I got tired of trying to fight them, so I let them go.

Idina went right into the re-arranged version of “Defying Gravity.” There was an indescribable swell in the audience, particularly in the first notes: “Something has changed within me, something is not the same….” I can’t explain what it was like, knowing all of the history behind Wicked, and Idina’s role in its creation, to hear her sing that song. No tears, just goosebumps. It was something to be remembered with great emotion and detail.

Idina waved and scampered offstage for a moment before returning to a very grown-up and heartfelt performance of “Tomorrow” from Annie. It was a perfect ending to a perfect show. Idina accepted a standing ovation and endless applause. A girl approached the stage and handed Idina a vibrant bouquet of pink-tipped roses. She took a bow, said goodnight, and away she went. Simply stunning.

It is true that I waited, along with about one hundred and fifty other people, outside the stage door at The Powell in some serious cold for over an hour.  By the time Idina emerged, I couldn't feel my feet.  I couldn't see her either.  I have had several wonderful experiences visiting stage doors, but this was not one of them.  I was shocked by the blatant disregard for Idina's safety.  Before she came out, one of two security guards asked us to line up along the sidewalk and to clear a path to her vehicle.  No one moved.  A second guard came and told us that Idina would be happy to sign a few autographs if there was cooperation.  No one moved.  I was heartbroken that the crowd was being so selfish and pushy.  Still, I stayed to the back, along the side and hoped that people would show some respect.

The only reason I knew she was there is because the crowd started closing in.  Idina is small, and she got lost in the mix.  She was quiet but polite, signing as many Playbills and Grimmeries as she could between being pulled in another direction.  Finally she was close enough that I could see her.  I was in the back, but I asked her if she would please sign my Elphaba doll.  She looked at me and reached for it.  I was scared that I might drop her, and she would get stepped on or lost.  But, Idina had her, signed her, and handed her back without incident.  Although it was difficult to hear her over the crowd, Idina smiled and asked me if I wanted her (the doll) back.  I was impressed that she was able to joke and remain so calm in the chaos.  I was very appreciative of her time, but I was also a bit frightened for her.  Idina didn't take any photos, and she only signed about 25 autographs.  I know that if she felt that she could have, she would have stayed for everyone. 

I don't think there is any excuse that kind of chaos and disrespect at a stage door like that.  Safety comes first.  Period.  I am disappointed that Idina was still escorted out that door without having the situation under control.  Thankfully, she was able to get to her vehicle safely and relatively quickly, but I know there was the potential for things to go very differently.  There should be clear boundaries in place long before anyone is allowed to come out of that door.  If people can't live with boundaries, they should be asked to leave.

When people speak of having “a gift” or a “talent,” it usually refers to a physical ability like singing, dancing, or drawing. I have been learning that our “gifts” and “talents” reach far beyond anything physical. It is unfortunate that we resign to being “ordinary” when we don’t show any outstanding ability to sing, dance, write, speak, or act.

In Idina’s case, and in the case of many other great performers I spoke of earlier, the true “gift” is the passion and enthusiasm to deliver a message. There is the obvious benefit of voice and song of course, but there is certainly something special about the ability to convey, to deliver, and to touch.

In my heart, I believe that Idina Menzel enjoyed performing for us just as much as we enjoyed having her. I wish her, her husband, Taye, and her son, Walker, nothing but the very best. I can only hope to see her again in the future.

Ruth