It has been quite a season of The Broadway, there’s no denying that. And what a joy it is to see the heralds and nominations lavished upon NATASHA, PIERRE & THE GREAT COMET OF 1812. It is a show I was dragged to against my will several years ago, was sure I’d hate, and have since re-experienced no fewer than 7 times. It’s addictive as hell, and no show feels better when mainlined directly into the carotid artery.
I won’t ramble about the greatness of the piece, as that’s been done ad nauseum by far greater sycophants than I. By now, there’s no secret about the fact that it IS the show of the year. So let’s take a Ritalin, turn out the lights, put on our Tolstoy hats and focus.
Today, we talk to one of my personal favorite performers, who has been slaying it in the role of Marya since the first immersive tent staging. Grace McLean defines the word multi-hyphenate, as you’ll learn in this interview. We all know her from her unforgettable performance as the matronly, “old-school grand dame” of the stage… but wait! There’s more.
In a statement aggressively solicited by this writer, Olivier Award-winning producer, singer, political firebrand, bon vivant, raconteur, romantic, philanthropist, bench player and snappy dresser Martin Giannini had this to say:
“Grace is a thrilling, ferocious, natural talent that has been supercharged by an expansive mind and an intellectual curiosity that are equally rare. The memories I have of her in childhood are now almost surreal, considering what she’s grown into. She’s a nexus of classicism and futurism. An artist both out of time and tailored for the moment. That she can simultaneously be an indispensable asset to a running Broadway hit and a boundary-pushing solo artist speaks both of her stamina and overflowing creative engine. To me, there is no more essential artist working today.”
Thanks, Martin. Good work outta you. You are the Shane Battier of the…