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Lainie Kazan
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166 i Lainie Kazan Lainie Kazan became an overnight sensation after only two performances as Fanny Brice in the Tony Award–winning show Funny Girl (1964). A successful singing career followed, and by the late 1970s and early ‘80s, she would add screen actress to her resume with memorable performances on television and in such films as My Favorite Year (1982), Beaches (1988), and My Big Fat Greek Wedding (2002). Our interview took place at my studio, where I began by asking her when she first knew that she wanted to perform on the stage. ‘‘I never had to ask ‘what should I do with my life?’ ’’ she began. ‘‘My mother was nothing short of Mama Rose, a theater mom, so completely involved in my life that I don’t know where I left o√ and she began. She had me take dancing, singing, and acting lessons before I was six years old. I was exposed to all forms of entertainment and art: theater, opera, concerts, and museums. She rehearsed my lines and dance steps with me, saw to my costumes, did everything. The writing was on the wall.’’ ‘‘Where did you study acting?’’ ‘‘At Hofstra University I majored in theater, and after I graduating, I studied with Herbert Bergohf until he started making passes at me. I left and took classes from Uta Hagen and with acting teachers at the Neighborhood Playhouse and [with] Sandy Meisner who helped me prepare for Funny Girl. Years later, I worked closely with Lee Strasberg at the Actors Studio.’’ ‘‘You were Barbra Streisand’s understudy for Funny Girl on Broadway.’’ ‘‘Yes, that’s right. I never wanted to be Barbra’s understudy. I knew that it meant that I’d have to emulate her. I took the job begrudgingly when Ray Stark, the show’s producer, dangled money and a seven-year contract in front of me. I had a similar talent to hers, but I couldn’t get out from under her shadow. It was a curse. Everywhere I went people said, ‘You look like Barbra. You sound like Barbra.’ In fact, we grew up in the same neighborhood, at the same time, and were influenced by the same singers. But she got noticed before I did. So I bided my time playing one of the Ziegfeld Girls and waited for Barbra to get sick. Meanwhile, I wrote up a list of influential people to notify when, and if, my chance came. Finally, [3.237.5.1] Project MUSE (2024-03-29 11:12 GMT) 168 The Actor Within eighteen months into the run, I got the call that Barbra had strep throat and I was going on. I phoned everyone on my list. Ten minutes before curtain, Barbra walked into the theater. I was devastated, utterly devastated . I climbed the five flights of stairs to my dressing room and cried my eyes out. The next day, one newspaper headline read ‘The Show Goes On, but Lainie Doesn’t. It Ain’t Funny, Girl.’ But Barbra was unable to appear for the next show. Again, I got word that I was going on, but this time the stage manager said, ‘You can’t tell anyone.’ ‘Can I call my mother?’ I asked. ‘No one else.’ ‘Ma, call everybody!’ She had a copy of my list! The press came back the next evening just to see me.’’ ‘‘What was it like for you to finally own the stage?’’ ‘‘It was remarkable—remarkable! I’ll never forget standing in the wings of the Winter Garden moments before curtain and peeking out to see a massive audience. Oh, my God! But once I got out on that stage, I had no fear. I was Fanny Brice. People who started leaving after the announcement that Barbra would not be appearing returned to their seats as soon as they heard me sing. I performed my heart out and received a standing ovation. All the major newspapers, as well as Newsweek and Time magazines , gave me rave reviews. After that, every door opened up for me. It was the single most important event of my career. I only gave two performances of Funny Girl and left the show three weeks later, on my way.’’ ‘‘And you became a singer?’’ ‘‘Yes. In those days, if you had a nightclub act you could make it big. You’d move on to play the big hotel showrooms in Vegas and Atlantic City, which would ultimately lead to a record...