While her voice has a depth and power that is virtually unmatched in the modern theater world, the amazing thing to me about Ramirez is her
presence. She can command a stage simply by batting an eye lash in a way that you just don't see anymore. Prior to when she broke through in SPAMALOT, she was already giving stunning performances filled with bold, original choices in shows like A CLASS ACT and THE CAVEMAN on Broadway and (particularly) as Petra opposite Patti LuPone in the Ravinia concert version of A LITTLE NIGHT MUSIC. It comes across well on film too, but live, she's just magnetizing.
I'd love to see take on a role like The Leading Player in PIPPIN that would utilize her immense persona just as much as her powerhouse vocals. She's one hell of an actress. That kind of material also has a dark edge that she carries off
so well but so seldom gets to show (which is why I also suggested Queenie in Lippa's WILD PARTY for her earlier.)
There is just so much she can do. Frankly, she's the kind of once-in-a-generation talent that shows need to be
written for. Of parts that come to mind, though, another is Gussie in MERRILY WE ROLL ALONG. Can you imagine that "Good Thing Going"?
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
Updated On: 9/2/11 at 02:14 AM
