Interview: Kathleen Turner and Julia Murney Sing A Little Night Music in Maine

Summer theater can have its charms, from scenic locales to performances by beloved Broadway performers in smaller venues. The current production of Stephen Sondheim and Hugh Wheeler’s classic 1973 musical A Little Night Music, now at Maine’s Ogunquit Playhouse through August 17, offers both pleasures — most notably in the casting of two-time Tony Award nominee and film legend Kathleen Turner as the aristocratic Leonora Armfeldt and former Wicked leading lady Julia Murney as her free-spirited daughter, Desiree.

TheaterMania recently spoke to Turner and Murney about their reactions to this production, the relationship between their characters, and the responsibilities of singing two of Sondheim’s most memorable numbers.

This conversation has been condensed and edited for clarity.

How are you both enjoying this experience?
Kathleen Turner: More and more every day. The longer we run, I am learning how to really flesh out this role. And mind you, it’s a supporting role and I’m really used to leading roles, so there’s been something of a learning curve. In fact, the last time I took a supporting role in a play, I ended up directing the piece. But here, I’m learning to shut up — at least for the most part.

Julia Murney: It’s a gorgeous show — my first one up here — because [Ogunquit Playhouse’s] standards and their production values are so high. And everyone, from the cast to the crew, is so impressive. And that includes the audience. Because this show is not done often in this area, we were worried that no one would show up. It’s a dense Sondheim show with a lot of things that can go over people’s heads. But the audiences have come, and I feel like they are with us every step of the way!

How do you each see the relationship between Leonora and Desiree, as well as Julia and Kathleen?
Kathleen: When she comes back the first time and they have that banter about “what do I do owe the honor of this visit,” it’s clear they have this push-and-pull relationship, like “please hug me, oh go away.” It reminds me a little bit of my relationship with my own daughter. But the biggest issue here is the fact that Desiree wants to make her own living, which is something Leonora finds reprehensible. She really doesn’t see why she shouldn’t be taken care of. Still, I think there is a genuine love or at least a true fondness between them, and I have no trouble being fond of Julia.

Julia: I think it’s a relationship of mutual respect. Leonara is a much neater person than Desiree to be sure. But they are cut from the same cloth, except the pattern on the cloth is very different. Still, they are both women who live loudly and freely. And working with Kathleen is so fun. We were all a bit intimidated at first, but she is so available and so open, even though she is the star with her picture outside the theater.

Let’s talk about the show’s two most famous songs. Julia, was there any pressure for you surrounding “Send in the Clowns”?
Julia: When I sang “People” for the Actors Fund concert of Funny Girl some years ago, I was originally a bit concerned because I felt it had become elevator music for some people, especially since it had so much exposure on the radio. But once I saw the script, I realized where it fits in the show, that it has a scene before it and Fanny is mostly singing it to someone else, and then I loved it. It’s the same thing here. A lot of people don’t understand what the song is about until they see the show and know the context. Personally, I also love that it’s the slowest song in the show, the one that breathes. The idea is to tell the story, not show off your range; it doesn’t matter if you can or can’t do vocal pyrotechnics. If you came here to hear me sing “Defying Gravity,” you bought tickets to the wrong show.

Kathleen, were you concerned about tackling your big solo, “Liaisons,” which is one of the most famous – and difficult – songs in the Sondheim canon?
Kathleen: I only had two weeks to learn it before tech, which was terrifying for something this complicated. Those first days I felt so insecure. I worried I might be making an ass of myself for even trying to do this. And with Sondheim’s rhymes and rhythms, it seems like he never expected anyone to breathe. But what I love about “Liaisons” is that like most of his songs, it is a story. Better yet, it’s like a whole scene in one song, you get her whole life story, and how she used the world to her advantage. Ultimately, the song — and the show — have exceeded my expectations.

Does this mean you’re ready to do another musical?
Kathleen: Doing eight shows a week is like an Olympic event. In fact, I wasn’t sure I would ever go back to the stage. But I might do another musical if it had a character in a wheelchair like Leonora. Being in a wheelchair has really helped me cope with my rheumatoid arthritis; 30 years of RA has been a lot of wear and tear on my body! I have always been a physical actor, so not being so dependent on my body has been a blessing.

Julia, are you ready to do another show in New York?
Julia: My next gig is directing You’re a Good Man, Charlie Brown at the Sharon Playhouse. But I would love to act in a show in New York again. You know, it’s not my choice; without a Tony Award or Tony nomination, it’s much harder to get cast these days. I am so grateful my friend Hunter Foster let me do Desiree up in Maine, because I seriously doubt that I would get that chance back in New York. Actually, I would love to do a play, because I haven’t done one in forever. Again, I’m not likely to get the lead, but I will happily play someone’s sassy sister!