Hang on..lemme dig up the article. I think it was on her site somewhere.
hey, look what I found on my search. She sort of looks like Ana Gasteyer here...
Alright, here's the interview.
BK: All right, Stephanie J. Block, here you are, young and talented, working away, waiting for the show that will propel you or bring you to Broadway. I was at what I believe was the second workshop of Wicked at Universal Studios, in which you played Elphaba, our very own close personal friend Miss Kristin Chenoweth played Glinda, and Lenny Wolpe, whom I worked with on the cast album of Radio Gals. I thought you were quite marvelous in the reading. How was it to be part of a new musical being shaped for Broadway at such an early stage?
SB: Unreal!!!! Stephen was in town (Los Angeles) starting the beginnings of what was to become "Wicked." He needed a girl to sing Elphaba (the wicked witch) for the first presentation at Universal Pictures. He went to dinner with several friends and my name came up as a recommendation to sing Elphaba. Others at the table agreed and the next day there was a message on my machine from Stephen Schwartz. He was so funny because on my machine he stared listing his credits explaining who he was." I've written "Godspell," "Pippin"..." My jaw was on the floor. I immediately called him back and what seemed to be a minute later, I was in his LA apartment learning 3 new songs he had written for "Wicked." It was amazing, sharing a piano bench with Stephen, singing music that the world had yet to hear. It will always be one of my all time favorite moments. I continued with the "process" for two years. Stephen would call and tell me they had finished Act 1 and that they wanted to hear it read. So...Act 1... first time reading went a little over 3 hours. Needless to say, there were cuts and revisions. Months later there was another reading of Act 1. Then more time passed and I was asked to come back and work on the piece for 2 weeks. We would work on the Universal Lot and then present it to the heads of the studio. By this time the members of the "cast" had come and go. I was the only one still "standing" from that very first 3 song presentation. Lenny Wolpe and several ensemble members stayed with the project for quite a while, too. By now, we had Kristin and she and I clicked from the moment we met, not just as coworkers but as friends. Our chemistry together was nothing I had ever experienced with another actress. During the two weeks, the show changed quite a bit. I felt so blessed and I knew from that first moment sitting with Stephen at his apartment that I was a part of something big. I still feel such attachment to the play and the character of Elphaba. I was able to go as Elphaba in San Francisco and I can't tell you the rush I felt. It was a tremendous night for me and I know that one day I'll be back to play her again.
BK: Obviously at some point it was decided to have Idina Menzel do the role you'd done at the reading I attended. That is, I'd have to imagine, a difficult situation - but you decided to stay with the show and to cover the role. Tell us what you can about dealing with it (Jennifer Paz had a similar situation with Flower Drum Song, and I thought she was much better than who ultimately did the role - I know, sacrilege, but there you are).
SB: I'll be honest. I was heart broken. I felt like I had invested so much time , and beyond that, given my heart to the project and the role. The response from those that attended the LA readings I performed in were overwhelming and I just felt like this role was everything I had dreamed of. Every step of the way I was getting more and more passionate about the project and more and more excited for it's future. I also have been around the block once or twice and know that NOTHING is for sure or in "the bag" until contracts are signed and the curtain goes up with you on stage. So when Stephen called and told me that they were going with Idina because she had experience in mounting an original Broadway musical, I had no recourse. I didn't have any Broadway credits. I knew in my heart that I was ready to do the role whether it was on the Universal Lot or The Gershwin stage, but the decision had been made. So, I accepted the role of her understudy/cover in hopes that when I went on, I'd be able to make an impression that would lead to the next phase of my career. I looked at it as paying my dues...AGAIN!!!!! But I also knew it was the opportunity to get me to Broadway and open more doors. It wasn't just a job, it was a career move.
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Updated On: 4/12/05 at 06:23 PM
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