SPOTLIGHT
The Rage Monthly: Did you realize that you are the first actress ever to both portray Judy Garland on Broadway in The Boy From Oz and recreate the voice of Marilyn Monroe for the audio CD of Marilyn’s writings called Fragments? Two of the most iconic women in show business. Isabel Keating: I think you’re right. It never occurred to me in that way. It makes me feel more fortunate than I ever did.
Rage: Let’s talk about The Boy From Oz starring opposite Hugh Jackman. Portraying Judy Garland at that point of her life in the show, around 1964…this was a difficult period in her life. Did you take the personal aspects and bring them to her character? IK: I did. I did take it into consideration. Most of my research on her was from her
television shows. Those were the main videos that you could get a hold of from that time. They were really valuable because you could see a bit behind her eyes that “uh oh, they were deciding to give the show the ax.” I read also everything that I could get my hands on and reading about her life. And talking to anyone and everyone that knew her to try to get a handle on that.
Rage: Every song in the production of The Boy From Oz was a Peter Allen song? IK: Yes. That’s true. For my songs, they went to good length to “Judyize” them. There’s one song called “Don’t Wish Too Hard” when I tried to bring into play the 1960s Judy, where she just loses control. Being a little bit on-the-edge, a little bit mother hennish about her daughter, a little bit jealous of her daughter…and a little bit falling apart. In that number, they tried to make it sort of a “Come Rain or Come Shine” tempo. It’s a challenge to do those songs that obviously are not iconic to her…
The Rage Monthly: And bring her forth in them and you most definitely did. IK: Oh thank you.
Rage: Will you share some of the experience of working on stage with Hugh Jackman? IK: Every single moment was a fond moment. He’s such a great actor and such a great person. Inevitably after performing it six or seven months, you can see the spark in somebody’s eyes if they are starting to get ready. He was always improvising as Peter within the scene. There was a couple times where we cracked each other up. We just had to keep a lid on it and be the professionals that we like to think that we are (laugh- ter) and not break up on stage. In acting, we call it “corpsing.”
Rage: You’ve done several audio books in the past. How did Marilyn Monroe’s Fragments land on your plate? IK: I don’t know to be absolutely sure. But maybe the producer of the book did some
research and realized that I played “Little Voice” in The Rise and Fall of Little Voice. One of the voices that the character does is Marilyn Monroe.
Rage: I read that you were very proud of doing the role of “Little Voice.” IK: It was one of the most profound experiences I ever had, both as an actress and as a person. Jim Cartwright’s play to me is one of the deepest and funniest plays I’ve ever had the good fortune to work on.
Rage: You have a remarkable talent for characterization on stage. What did you aspire to bring when you got the audio job for the Fragments book? IK: I was delivered the manuscript after they called to ask if I would do it. When I heard
what it was, I decided to do so sight unseen, without having read it first. Then, after I read it, I was so taken with the woman. I, like most people, know Marilyn as this…I always knew she was an intelligent woman and a great businesswoman and there’s the mythical Marilyn. But, when I read this book, I was so moved by her aspiration to… grow. To increase her knowledge, to discover more about herself and it was profoundly moving to me. Having read it, I was hoping I could put some of that into the book. I didn’t want to try and imitate any kind of particular voice…I did want to bring some of that though. I didn’t want to exclude the audience. It’s the same timbre; it just doesn’t have that “Happy Birthday Mr. President.” Everything being like “bimbo.”
Isabel Keating [Judy Garland] and Hugh Jackman [Peter Allen] in The Boy From Oz.
Rage: Yes. Well…here I go with Spiderman: Turn Off the Dark. The most expensive musical on Broadway ever! Music and lyrics by Edge and Bono of U2! Julie Taymor directing! And a relatively unknown newcomer as Peter Parker! What is your character of Aunt May involved in for Spiderman: Turn Off the Dark? I believe the character of Aunt May is fifty-something? IK: Okay. It depends on what version you’re looking at. If you look at some of the early stuff in some of the comic books, she looks like she’s about to keel over (laughter). She’s in bad health and she’s 75 it looks like with the bun and the “ahhh” face. I will be aged-up, of course. I have some great make-up. But, we’re choosing to put it in a middle range, maybe 65ish. More along the lines of what would be an older aunt or uncle. If you see some of the later versions of Spiderman, some artists have portrayed her as a kind of hip, younger looking grandma thing. But, definitely for the show, she’s in her 60s.
Rage: I read somewhere about the character of Aunt May that said she “sings, she dances and she even flys too!” Now…you don’t fly in this show do you? IK: (laughter) I hate to burst your bubble…but ummm. No.
Rage: (laughter) I didn’t think so. IK: No, I’ll leave flying to Peter.
Rage: Did you get a song by Edge and Bono for this? IK: I wonder if it’s okay to answer this or if it’s being saved for some later thing. I’ll go
ahead and be risky and say that, I do not have a solo. Let’s put it that way. But yes…I’m singing.
Rage: Now, you are there rehearsing every day? IK: Every day except our one-day off. Right now, we’re in technical rehearsals and setting light and sound to everything that we’ve rehearsed. And, we are continuing to rehearse. So, yes…every day through the first preview and through opening.
Rage: It’s the most expensive Broadway show ever…yet, that’s not a reason to come and see it. IK: No, the reason to come see it is because it’s fantastic! I wouldn’t miss it for the
world.
Rage: Thanks so much Isabel. IK: What a pleasure. Take care.
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RAGE monthly | NOVEMBER 2010
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