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ENTERTAINMENT WEEKLY: What attracted you to the project?
But it was originally [conceived] for Bette Midler.
So it was written for somebody who could sing.
She has to be, like, a one-hit wonder."
And they were like, “Whatever you want to do, let’s have some fun.”
And the rest is kind of wonderful.
Did you have any musical background at all?
The two of them got me through all of the musical stuff.
They both sang with Bette; they were both, at one point, [in] the Harlettes.
It was like, “Ooh!”
and then I said to myself, “Don’t pretend you could sing.”
No, I won’t.
I’m not cutting any albums.
How did the musical numbers come together?
The three of us worked out what we wanted to do and then we showed it to Marc.
We were literally trying not to fall off the stage.
And so whatever craziness we got through, we got through it together.
Everyone came back for a sequel right away.
How did that happen so quickly?
But then again, I wouldn’t have gotten to play with all those wonderful actors.
So you never know.
Would you ever play Deloris a third time?
Yeah, it would be a great blast.
I would have a good time, because it’s a piece I understand and I know.
But would they call me?
They’ll find somebody much younger to do it.
You played Mother Superior in the West End production of the musical for a few weeks.
What was that like?
It was interesting, because I could feel my Deloris coming into my experience.
It’s like, “No, you’re not playing Deloris!
Get back to the nun!”
So it took a little while, but eventually I got it down.
It was a good experience.
That’s something I probably would do again.
As a producer on the musical, what’s been the biggest challenge of translating it for the stage?
So the world domination ofSister Actcontinues!
What’s better than that?
