In this heartwarming conversation, I find myself deeply moved by Cynthia Erivo’s resilience and passion. Her journey from drama school to Hollywood stardom is nothing short of inspiring, especially considering the barriers she faced as a Black girl pursuing her dreams in the music and acting industry.
During the Tony Awards held in June, the past and upcoming phases of “Wicked” took center stage, with Idina Menzel and Cynthia Erivo – both iconic Elphabas on stage and screen – presenting the award for the best new musical to “The Outsiders.” Angelina Jolie, one of the producers of the Broadway version of S.E. Hinton’s classic 1967 novel, was among those who received a Tony statuette that evening. In their Actors on Actors conversation, Jolie expressed her delight over Erivo’s role in the ceremony, calling it “the cherry on top,” especially since it came from her. The team behind “The Outsiders” undoubtedly shared this excitement, as Cynthia Erivo won a Tony, Grammy, and Emmy for her performance in the 2015 Broadway revival of “The Color Purple.” This leaves her only an Oscar away from achieving EGOT status.
Today, instead of focusing on Broadway, Jolie and Erivo are exploring their recent roles in films. Angelina Jolie’s character, “Maria,” starts from the day of opera diva Maria Callas’ passing, then moves backward to her last days – interspersed with flashbacks showcasing her career victories, sorrows, and a turbulent childhood. Jolie found similarities between herself and Maria, stating that she had “lost my voice” metaphorically, referring possibly to losing her mother or experiencing personal pain. To convincingly portray the role in Pablo Larraín’s film, therefore, Jolie spent seven months preparing, describing the process as therapeutic.
Every day for the role of “Wicked’s” Elphaba, Erivo had to endure a green makeup process that could take up to four hours, in addition to caring for her voice afterwards. “Regardless of how skilled a singer you are,” Erivo explains, “you need to make time for recovery.
As our conversation draws to a close, my co-actors and I gaze ahead, brimming with anticipation. “Here’s hoping we collaborate again,” I express, eagerly adding, “Let’s seize the opportunity when it comes knocking!
CYNTHIA ERIVO: When I watched “Maria,” I wanted to find out what brought you to the project.
ANGELINA JOLIE: For quite some time, I’ve been eager to collaborate with Pablo Larraín. I believe he’s an exceptional director who carefully considers his subjects and projects. He has a keen understanding of actors’ behavior, yet he can balance this with the ability to effectively direct a film – sometimes these aspects can conflict. He reached out to me about “Maria,” so I asked for some time to mull it over. I was somewhat familiar with her already, but I delved deeper by watching her work and interviews.
What struck me the most was how harsh things became near the end of her life, and she felt quite alone. Given that the entire team desired a compassionate and respectful approach towards her, I felt compelled to propose that we should attempt it this way.
RESPONSE: It hadn’t occurred to me that there was such a high level of harshness. In one scene, she emerges from the opera house following her performance, only to encounter an aggressive photographer. Seeing her struggle in that moment, as someone who is attempting to regain her footing, truly tugged at my heartstrings.
JOLIE: I’m convinced you grasp her abilities, perhaps more than I do, since music has been a significant part of your life since childhood. And let me tell you, your talent is simply astonishing. It’s a lifelong dedication; it involves countless hours of hard work that often go unnoticed and misunderstood. In many ways, it seems like you were born with this gift. But to truly comprehend the effort required… I hold an immense amount of respect for you and your craftsmanship.
ERIVO: Thank you.
During such instances with Maria, she poured out a significant portion of her life. However, when she couldn’t perform at the same level, there seemed to be little empathy or assistance for her as an older woman. Instead, people appeared disappointed and even cruel towards her for not being able to meet their expectations.
As a devoted cinephile, I’ve been pondering quite a bit about your craft. Transitioning from the grandeur of Broadway to the intimacy of film, singing with a camera so close – it’s a fascinating transformation. How do you adapt your vocal technique for such an up-close performance?
ERIVO (PARAPHRASING): On Broadway, you need to act as if the entire audience is behind you. You want them to catch every detail, every emotion, so you have to project. However, during filming, our director Jon Chu sometimes steered us away from our planned path. There were no pre-set tracks; instead, we decided to sing live on set.
JOLIE: That’s extraordinary.
During our rendition of “For Good” [for “Wicked: Part Two”], there were moments of silence between us, and he’d prompt me to begin, assuring that the pianist would follow suit. This allowed for all the nuances in our vocal performance, such as whispers or pauses, to be expressed authentically. The advantage of recording on set was the ability to truly engage in the moment, making adjustments and improvisations as needed.
Are you able to discuss the journey and efforts you’ve made to learn opera singing? Given my extensive background in music, transitioning into opera feels akin to wearing a familiar coat. However, opera is its own unique genre, so embarking on this new venture takes courage. What drove you to be so bold? Furthermore, could you share your experience and the steps you took to become comfortable enough to perform in this style?
JOLIE: I appreciate your thanks. I was truly terrified, but I believe this fear is a blessing for an artist. It’s when you’re unsure if you can pull it off, questioning if you’re good enough. The task ahead seems daunting, making you feel insignificant. Yet, this uncertainty is a gift for an artist. In your film production, I sense you felt the same way. As for me, Pablo, who has a deep understanding of opera and grew up with it, ensured that I received proper guidance. He arranged Italian language classes, vocal coaching for opera singing, and lessons on body movement and breathing techniques to prepare me adequately for this art form, which he holds in high esteem.
People continue to cite me due to an instance I shared, which I described as a mistake, yet it felt more like therapy for me. This is true because the act of doing it and the process of learning were distinct entities, but discovering my voice and expressing it openly was incredibly challenging for me. I was genuinely emotional throughout this experience.
I hadn’t realized the extent to which I had lost my ability to express myself fully. Whether it was losing my mother or some other painful experience, these incidents seemed to shrink and silence me. The process of rediscovering my voice and allowing it to be heard was incredibly emotional, and I wish this feeling could be experienced by everyone. I long for everyone to know the sensation that comes with singing at the peak of your vocal power, understanding the depths from which such a sound can emerge. It’s not just about performing for an audience or telling a compelling story; it’s about having the capacity to create that unique sound. As Maria put it, she dislikes listening to records because they are flawless.
ERIVO: Yeah, I remember that.
BEAUTIFUL: Indeed, there’s a ring of truth to your statement. For Broadway performances, they aren’t like films – each night is unique, every moment varies. There’s an element of risk, a twist, a pulse of life. I believe you managed to preserve that essence in the “Wicked” production I saw. Your work was grand yet authentic, and it seemed to draw me past all the spectacle. It was simply remarkable and modest, leaving me captivated.
In her daily life, Maria exhibits a remarkable lack of self-pity, always approaching situations fearlessly.
JOLIE: Thank you for noticing that.
As a movie reviewer, I must say, the resilience of this character truly leaves an indelible mark. It’s her unyielding spirit that tugs at your heartstrings, for it is rare to see such strength in female characters, particularly those portrayed as larger-than-life figures. We often yearn for a moment of vulnerability, and here, we find it not in her defeat, but in her relentless struggle.
PARAPHRASING: A woman is admirable when she apologizes or shows vulnerability. Both characters in question have had the experience of growing up feeling lonely and somewhat isolated, stemming from unique circumstances. Maria didn’t have a mother who nurtured her self-worth, and our other character shares this sense of aloneness for different reasons.
ERIVO: And never expecting that anyone would give …
JOLIE: … love.
PARAPHRASING: They share a unique understanding, borne out of their shared loneliness, which endows them with an extraordinary ability to love deeply. Consequently, they are remarkably receptive to such emotions when they encounter them.
Absolutely, I agree that this sentiment rings true for many powerful women. It’s often assumed that we shun tenderness, compassion, gentleness, and affection, but in reality, it couldn’t be further from the truth.
ERIVO: Can I ask, how long were you filming this piece?
JOLIE: I was in training for about seven months, and then we filmed … maybe it was three months?
ERIVO: Wow.
JOLIE: Yeah. And we sang live on set.
ERIVO: There is something quite thrilling about getting to do that on a set.
JOLIE: You must find it exhilarating because you’re confident about your vocal abilities. For me, however, it’s more frightening than exciting. Initially, I wished to perform in the smallest of rooms, almost begging people to close the doors and gather. By the end, I grew accustomed to projecting my voice in a large room filled with countless listeners. Yet, there’s definitely an overwhelming sense about it.
ERIVO: You said that you were terrified. Do you think that feeling is eased now?
JOLIE: This piece evokes a multitude of feelings in me since someone close to me once doubted my singing abilities. They didn’t outright say I couldn’t sing, but they chuckled when I was attempting something small. That moment left quite an impact on me, almost silencing me. If not for this incident, I might have never discovered my voice and lived without expressing myself through song. As a result, I went from being extremely fearful to deeply appreciative.
As a passionate moviegoer, I simply must express my admiration for the enchantment woven into this masterpiece. Watching “Defying Gravity” with my daughter was an unforgettable experience. It wasn’t just one of my children; it was my dear daughter who, in that moment, resonated deeply with the film’s essence. As a mother, I yearn for art to inspire and make an impact. In that instant, I sensed a connection – a spark igniting her curiosity about the infinite potential within her, about undiscovered aspects of herself. It was a profound feeling that I cherished. I savored every second of its live performance. The climactic song held immense significance for me – personally and universally. Could you share your feelings or insights about it?
The task at hand was significant given the song’s renown and popularity among fans. I wanted to truly convey its essence. The labor involved was challenging as I had to sing while being suspended in a harness, an experience that was novel for me. I had to learn how to synchronize my body movements, mental focus, and vocal performance to create harmony. I felt a sense of accomplishment mastering the practical aspects of this unique performance.
To reach a point where I could command words effectively, I pondered over the entire path that led me here. This isn’t just about the creation of this specific project, but my life’s journey thus far: attending drama school at 20, persevering despite the challenges, graduating at 23, struggling to secure jobs and feeling unnoticed and misunderstood – feeling incredibly out-of-place, unique. I had to learn how to carve my own path in this tough industry, especially as a Black girl with a singing voice. This business is difficult, but it’s even harder when you’re a Black girl pursuing a career in music.
Additionally, I recognized that numerous individuals yearn to be acknowledged, to prove they can surpass others’ perceptions of them and their own limitations. In that instant, I aspired to surpass my own expectations of what I was capable of achieving. There’s another thought lingering in my mind: “There are countless people on this set right now, who have been anticipating this moment within this film and this project, and we’ve all been striving for this specific scene.” This is what we concluded our shooting with; it was the final thing we filmed.
JOLIE: Oh, was it?
I needed to draw upon various aspects of myself: young Cynthia who didn’t realize her capabilities, and mature Cynthia who aimed to make everyone proud, including herself. I wanted the performance to encompass not only my aspirations but also the aspirations of all those who collaborated to bring this project to life. Additionally, I enjoy singing, so being given the opportunity to express that, while paying tribute to the women who performed in multiple shows each week, filled me with a sense of readiness and excitement. I was ready to say, “Let’s do this.
JOLIE: Oh, that must’ve been an extraordinary day on set.
Production: Emily Ullrich; Lighting Director: Max Bernetz; Set Direction: Gille Mills
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2024-12-12 19:19