Genius loves company. That may be the simplest way to account for one of 2012’s most ambitious and successful album releases, Let It Be—a reinterpretation of Beatles classics by Roberta Flack. For someone whose musicianship covers every genre from Classical to R&B to Jazz, however, nothing is simple about the 12 songs that made the final cut. Each one is like taking hold of Flack’s hand and finding a new walkway through lyrics and melodies that are as familiar to most of us as breathing. As Tetiana Anderson discovered, for the fourtime Grammy winner it’s all about the journey. Indeed, from Flack’s early years as a music prodigy through the twists and turns of a fascinating and celebrated career, she has become quite adept at discovering the path less taken. And, the title of her new album notwithstanding, Roberta Flack has never been one to simply let it be.

Photo courtesy of Roberta Flack

EDGE: You really want people to make connections through your songs. Where did that come from?

RF: I don’t know where that came from. But I can tell you that connecting through songs is what I am all about, period. I was watching recently some footage of Bill Cosby introducing me at a jazz fest back in the ’70s. He was telling the audience that Roberta Flack tells stories so you can understand them. I think that is a true description of how I feel about music. It speaks to me. I try to speak back and once I get the conversation going—and figure out what the whole point is—I’m ready to dig in and come up with a very individual interpretation of a particular song.

EDGE: Your own story is incredible. You were the youngest person to ever enroll at Howard University, and later the first black teacher at an all-white school. Do you think of yourself as someone who breaks barriers?

RF: No. But I do believe in destiny and fate. If you are practicing five or six hours every day—and that’s all you live for as a child because there are no other options—if you are able to grasp that and hold onto it, it will tell you where you are supposed to go. I did go to Howard early. And I did become the first black teacher at an all-white school in Chevy Chase, Maryland, which was a little tighter wound in terms of the people and their personalities than Virginia. When you’re a child and you have the gift of music, the gift of art, the gift of conversation, nothing stops you.

EDGE: What impact did the church and gospel have on your appreciation for music?

RF: I belonged to an interesting church and my mom was the church organist. The choir director was a Howard University graduate, and many of the choir members were people who had graduated Howard or gone to school with him. That church, as we would say as young kids, was “uppity.” It was uppity because the church that Mahalia Jackson, Sam Cooke, the Soul Stirrers and the Five Blind Boys visited was not our church. That was Macedonia Baptist, down the street. I spent a lot of time as a young person going between churches. Actually, the first genre of music I was exposed to was not gospel music; my background was actually classical. But I loved gospel. What is there not to love? It doesn’t have to be something where people are shouting. It can be a song’s subtle embellishment, it can be the malisma that Whitney Houston brought to her pop music. Melisma is a gospel characteristic when you take a note that’s supposed to be da and go dahahahahahaha and add all those other notes up and down the scale. That is a beautiful experience and it’s also very moving. Your soul cannot help but be stirred when you hear Aretha Franklin sing “God Bless the Child” or “Amazing Grace.”

EDGE: Do the classical works of Chopin and Bach give you the same goose bumps as gospel?

RF: Yes. Yes. I can play some Chopin for you that would make you say Girl, that ain’t Chopin! I’ll tell you who uses the melodic flow of romantic composers like Schuman, Brahms, Chopin, Shubert and Beethoven: Stevie Wonder. When you hear him sing, when you hear him play any of those songs that are so melodic, like [singing] A Ribbon in the Sky for our love…he does a lot of that.

EDGE: You worked on songs with Stevie Wonder but are perhaps best known for your partnerships with Donny Hathaway and Eugene McDaniels. What did you learn about the craft from those two?

RF: I was humbled by their talent. I’ve been watching a performance Gene and I did in the studio of a song that Gene wrote for an Eastern Airlines commercial. It was called “Chasing the Sunshine.” How clever is that as a title? This is the same guy who wrote “Reverend Lee,” “Feel Like Making Love” and “Compared to You.” He was a profound writer, Gene McDaniels. Absolutely, absolutely brilliant. Donny and I cut “You’ve Got a Friend” in 20 minutes, which isn’t hard to understand. I am a musician, not just a singer, so you don’t have to teach me something. I have the presence of mind and the ambition and the appreciation for my craft to sit down and practice. So I practiced, came to New York, and Donny and I did “You’ve Got a Friend,” which went to the top of the charts. So they said Let’s do an album. Okay, so the next thing we did was “Where Is the Love.” Donny and I finished that first album in three days! I should say that I did whatever Donny asked me to do as a duet partner. In terms of putting it together, sketching it out, bringing all the pieces together so that everybody understood what was happening—that was Donny, that was the kind of mind he had. Three days.

EDGE: You accompanied Donny on piano on the classic “For All We Know.”

RF: Yes. When we finished that album the producer asked, “Ro, you got another song?” I said, “Donny do you know this song?” He said, “Yeah I know the song but I don’t know the words.” So I wrote down the lyrics of “For All We Know.” I played it and he sang it and we recorded it. You know, I had really cut my chops as an accompanist. I’d played piano while I was teaching school in DC at the Tivoli Opera Restaurant. I mean we were doing Aida and Madame Butterfuly, we were doing Tosca and La Traviata and Verde and Chelini. Oh, it was just so wonderful. Here I am this little girl from Black Mountain, North Carolina. I’d never read that stuff but my musicianship, my gift—thank you, God—allowed me to do it with the same kind of comfort that I’m playing for Donny. I just looked at him and listened to the way the song was developing. When we did that together it was one of the highlights of my recording career.

EDGE: You also worked with Bob Marley. How did you meet? What was he like?

RF: Beautiful. Fine. Sexy. He was a friend. We were both Aquarians. I am on the 10th and he’s on the 6th. When he got sick I was so upset. I lived for seven years in Jamaica accidentally. That was part of that Eastern Airlines – Gene McDaniels thing. Part of my payoff from the airline was to close my eyes, pick from their map any place, and my finger landed on Montego Bay. I stayed for about two days and said, Now I want to go to Kingston. I was with a couple of guys. We went to Kingston and ran right smack into some Rastas who said, “Sistren let me take you, let we go see brother Bob.” So he and I became friends and as a matter of fact I brought down later my band and we went into his studio and worked on “Killing Me Softly.” Then I came back to the States and recorded it, and of course that was a hit for me, too. But Bob was a wonderful friend. He spent several hours in my apartment in New York sharing musical ideas and good vibrations and was just a beautiful person. When he was sick I tried to find some holistic doctors for him to see. I was able to introduce him to a few, but it was a little bit past the time where they could help.

EDGE: You’ve seen more than one great talent leave this earth before their time, whether its Bob Marley or Whitney Houston. That’s got to be tough for you.

RF: It is tough. I think about it especially since Whitney died. I think about it a lot. A couple of days ago I found myself rattling off names of people that I have known and worked with, or knew musically in a very special, intimate way, who are gone. I said, Okay I gotta stop this. You start to feel your own vulnerability.

EDGE: You mentioned “Killing Me Softly,” which went to number one. What do you recall about that?

RF: When “Killing Me Softly” was released as a single I was performing in Germany. My one source of Englishlanguage entertainment was the army base radio station. I had it on and woke up to Well, here it is again, Roberta Flack’s next big single, Killing Me Softly! I remember thinking Oh, boy! But at the end they finished by repeating “…killing me softly with his song” over and over and then fading out. I said “No, that’s not it!” I called the producer and asked, “What did you do?” He said, “Oh I just faded it.” I said, “No! No! No!” He said, “Man, only like a million three hundred fifty thousand of these have been sent out all around the world. Can’t you live with that?” I said, “No.” So they changed it.

EDGE: Let’s fast-forward to your new album. One of the interesting things about the Beatles is that they evolved so rapidly and had such a huge effect on popular music. When you went back and sorted through their catalogue of songs what are the things that made you go Wow?

Atlantic Recording Co./David Redfern

RF: When I was looking at “I’m Looking Through You,” which is the first song we laid down, there is the line Love has a nasty habit of disappearing overnight. Disappearing overnight. Every time I sing that it makes me almost want to cry, because love does have a nasty habit of vamoosing overnight. You can be ever so intense and sincere and real, then all of the sudden it’s like Who is this person? What am I into? I’m married to who? What and why did I do this? Because the love you thought you identified as love was something else, and wasn’t based on something that could stand all the pressures of being, of becoming, Roberta Flack. I was married to a wonderful bass player who worked with Roland Kirk, the great jazz horn player. Roland thought I was a great musician and he’d say, “Ro, come on, you need to play some jazz girl. Come on.” My husband said to me one day, “You can’t do this, because if you do, you’ll change.” I asked him, “How will I change?” He said, “I don’t know, but women always change.”I told him I wasn’t going to change, that I’d been playing the piano and singing and helping other people play and sing all my life—so this is just another format, another audience. I’m doing it. I want to do it. He said, “If you do, we can’t stay together.” I said, “Okay. Bye. See you later.”

EDGE: You chose your music.

RF: Of course! How could I not? I had no choice. I wasn’t selling my body. I wasn’t prostituting. I wasn’t doing anything except making music, which I had been doing all my life!

EDGE: So back to the Beatles, is what grips you their lyrics?

RF: No, it’s everything.

EDGE: How did you decide which songs to include and which to cut?

RF: It wasn’t easy. I listened to myself and I listened to my heart mostly. I think if you’re a trained musician like I am, or like Alicia Keyes or Stevie Wonder or Donny Hathaway, it helps. You have the ability to see how a song is built from the bottom up. And after you see the song and you fall in love with the song, then you get inside of it and break it down again. It’s an incredible process.

EDGE: Still, the process took five years.

RF: Yes, well the longer I worked on the songs the simpler they became, and the easier it became for me to hear them in their finality. Even though I hadn’t finished them, I could still hear what was going to be the final song. I could hear my voice singing the lyrics and singing the melody and putting it all together, and the accompaniment underneath. I wanted mostly guitars, because I think of the Beatles as guitarists. There were three major players in their band—John, George and Paul—so I wanted it to have that sound.

EDGE: Do you think songwriting and popular music has changed dramatically since the Beatles were around?

RF: It has to. Can you imaging doing the Hand Jive? Can you imagine doing the Charleston? Can you imagine every song sounding like something Billie Holliday had to sing? Weren’t we glad when Esther Phillips came out and sang “What a Difference a Day Makes?” The world must evolve and everything must change, especially music. If it doesn’t, where do we go? I can’t imagine doing all of the Beatles songs the way they did them.

EDGE: I have to ask—you crossed paths fairly often with John Lennon when both of you had apartments in the same building on Central Park West. Were you buddies?

RF: He invited me to the studio, and I did work with him a couple of times on stage and stuff like that, but it was never like buddy-buddy. It wasn’t buddies, no.

EDGE: So what’s next for Roberta Flack?

RF: I really wish I knew what was next. I have an album of songs I’ve done with a group of young people. We all call ourselves the Real Artist Symposium—symposium meaning a group of very musical people. We’ve come up with an album we want to release under the title: Real Artist Symposium featuring Roberta Flack. Not because I want to be featured, but because using my being a member of the group will attract interest and people won’t have to look at something and say What’s RAS? Maybe they’ll be curious enough to check out the music of these other young artists who are with me. I’ve done some of the music already and I am excited about it.  

Editor’s Note: If Tetiana Anderson’s name is familiar, it’s probably because her face and voice are, too. A television reporter who has chased storms for the Weather Channel and covered Operation Iraqi Freedom from Baghdad for MSNBC, Anderson is currently a freelance reporter/ producer for organizations including NY-1, CBS Newspath and CNN. Needless to say, she knows her way around an interview.

Anyone who questions whether acting is a craft needs to spend a little time with the cast of a play like Stick Fly, which opened to rave reviews this past winter at the Cort Theatre on 48th Street. Produced by Alicia Keys and directed by Kenny Leon, Lydia Diamond’s engaging family drama explores themes of race and class through the story of an upper-class African-American family. While this may be unfamiliar territory for most Broadway theatergoers, the two male leads of Stick Fly are instantly recognizable. Mekhi Phifer (ER) and Dulé Hill (The West Wing and Psych) rank among the most beloved and talented ensemble television actors of our time. Hill is an old hand where Broadway is concerned, while for Phifer Stick Fly marks his debut. EDGE Assignments Editor Zack Burgess met with the co-stars before a performance at the Cort over the holidays. Three-way Q&A’s can be tricky—especially with so much ground to cover—but as usual, Zack just pointed his subjects in the right direction and they took it from there.

EDGE: Did either of you have a professional relationship with Alicia Keys prior to this production of Stick Fly? Dulé Hill: No. But I have always been a fan of hers. Who’s not a fan of hers? Mekhi Phifer: I knew her, but of course not to the level of our friendship since this project got started.

DH: I had done a version of Stick Fly about five years ago in L.A. It was a staged reading with mikes. It kind of reminded me of old-school radio. It was fun. I hadn’t thought about it since then, and then I got a call back in the summertime to do a project. I knew they had an offer out to Mekhi, which really piqued my interest. Once I was told the name of the play, I said I’m in. Alicia’s involvement was the icing on the cake.

EDGE: You both have done lots of television and film work so you have a good background in terms of shared experience. The exception is probably that Dulé has spent time on the Broadway stage. Mekhi, how has Dulé helped you adjust to performing on stage?

MP: Dulé has done Broadway four times. I’ve never done a play, so I’ve asked him a lot of questions. It’s always helpful to be surrounded by people who are veterans and who are good at what they do—who know what is entailed in making this thing work. Being able to go to Dulé was very helpful for me to get acclimated to this environment.

DH: Remember that the other pieces have mostly been musicals. This is only the second produced play that I have done. So it’s still kind of a new world for me. I’m not going to be putting on any tap shoes or singing.

EDGE: Dulé, what did you see as Mekhi’s immediate strengths in terms of stagework when you guys started rehearsals back in the fall?

DH: It comes down to being a brilliant actor. He brings it every time. That’s the case whether he’s on ER playing Dr. Pratt or the star of Paid In Full, coming on Psych or playing Flip in Stick Fly. That alone is it. Having those skills. There are things you have to do when you’re dealing with the stage versus film and television, and Mekhi took everything in, learned and adapted. He asked questions and processed information very quickly. You wouldn’t know that this is the first play he’s ever done. I really respect him for that.

EDGE: Dulé, are there any parallels between the LeVay Family in Stick Fly and your own experience growing up in New Jersey?

DH: I grew up in a middle-class family, although I don’t think we had anywhere near the type of money of the LeVays. But I definitely relate to the LeVays’ dysfunction. I have a great family, but we have our level of dysfunction, too. There are things we don’t talk about. We don’t always address issues when we should and they end up simmering underneath and then exposing themselves in other areas.

EDGE: What about similarities to your character, Spoon?

DH: Spoon is trying to figure out where he wants to go in life. And that is foreign to me because I started doing theatre at the age of ten, and started tap-dancing when I was three. I’ve always been on a journey of self-discovery and owning who I am as Dulé—not trying to fit into the mold of what other people think I should be. Spoon doesn’t own his vision. He starts to figure it out during the play, but in a way his family never supported him or gave him the opportunity to really find out what he wanted to do. I’m very thankful that my parents supported me, exposed me to new experiences and let me find where I want to go in life.

EDGE: Is that what Stick Fly is about?

DH: It’s about family dysfunction, self-identity…and daddy issues.

EDGE: Daddy issues in what respect?

DH: The idea that, when you’re a child, your father is perfect. For instance, I love my dad to death, but growing up there’s this issue of trying to fit into the mold of who you think you should be because of your father. Then one day you realize that your father is a man just like you. He has his own faults and Achilles’ Heel.

MP: My character, Flip, emulates his father. He’s a doctor, like his dad. He’s just living life. He’s off the cuff. Flip has what is seemingly a closer relationship with his father than the one Spoon has. But I think what makes Dulé’s character stronger than mine in certain respects is that Flip took the more accepted route by becoming a doctor.

EDGE: What was your family background like, Mekhi?

MP: I grew up in a single-parent home and never met my Dad. At the same time, my mother was a schoolteacher, a dancer and a choreographer. She always stressed academics, but she was also about the arts. There was never one way to do something. She favored an obtuse way of thinking versus an acute way of thinking. So my mom wanted me to have great grades and she looked over my homework. But she was always supportive of the arts. So when I was a kid and I would do little talent shows, or rap in freestyle and battles, she was always very supportive.

EDGE: What nuggets of wisdom have you guys picked up from your co-stars over the years?

DH: We’ve worked with phenomal co-stars.

MP: I agree, we’ve both been blessed to work with some dynamite co-stars.

DH: On The West Wing, Martin Sheen used to say to me, “It’s got to cost you something. If it doesn’t cost you something, then it’s meaningless.” Whether it’s the journey of the character or you as an individual, you really have to put yourself into it. Something—time, energy, whatever— has to be sacrificed if you’re going to have a successful career. For example, if I’m hanging out all night partying and then try to come on stage the next day, it’s just not going to work. You have to make choices and say, “This is where I want to go. This is what I want to do.” That always stuck with me. What also struck me about Martin was his humanity, how personal and gracious he was with everybody. I try to take that part of him and apply it to my own life.

MP: The first piece of advice that really stuck with me came while I was doing my second film, Tuskegee Airmen. Laurence Fishburne told me then that “less is more”— especially when you’re dealing with film and television. Another piece of advice I got was from Bill Cosby. He said somebody had asked him what was the key to success, and he said he didn’t know, but he did know the key to being unsuccessful, and that’s trying to please everybody. Those two poignant statements have stuck with me throughout my career.

EDGE: From Martin Sheen and Laurence Fishburne we move on to Jon Lovitz…Mekhi, what do you take away from a crazy comedy like High School High?

MP: Jon Lovitz was wonderful. We were all young in that movie and I always remember him being so nice. He was extremely successful at that point, just coming off of doing SNL. That was early in my career and it was a little bit of a whirlwind for me. But Jon’s one of those guys that will stop you on the street and talk to you, and after awhile you’ll be like, All right Jon, enough is enough. Enough jokes. I’ve got to go. So like Dulé said about Martin, yeah be successful, but be gracious as well. Live life and get to know more people.

EDGE: Dulé, you got to know Wesley Snipes working together on Sugar Hill. What insights did he give you as an actor?

DH: There was one thing that Wesley told me that stuck with me. I had just gotten to L.A. and it was right before I got The West Wing. I was auditioning for stuff and I wasn’t getting the roles, the scripts weren’t very good, and I was going to get dropped by my agent. I ran into Wesley one day and he said, “If there’s always one way, there’s always another.” I asked him what he meant by that and he explained that if you see a bunch of people going up a hill and falling back and not making it through, then try to look on the other side. There’s not just one way to get to your destination. I don’t know what he meant for me to receive from that, but it always stuck with me. From then on I’ve always looked for different angles on how I approach a character, and my career.

EDGE: I am curious how the involvement of a major musical personality changes the culture of a movie or a TV show or a stage production. For instance, Mekhi, when you worked with Eminem on 8 Mile, was that a very different experience than the other films you’ve done?

MP: It was great. Pure fun. I’m 26, 27, we’re in Detroit, Eminem is at the apex of his career. We had a month of rehearsals so that Eminem could get dialed in. We partied hard and it was fun. It was a great experience working with a director like Curtis Hanson and all these actors who were relatively unknown at the time. We had a blast. What I loved about Curtis was that he trusted us. Even when we were doing the battles—that stuff was not scripted. And the people in Detroit were great. What made those battle scenes real is that those people were real people. They were not day-to-day extras, they were real people from the neighborhood.

EDGE: Every successful actor has that role that he almost got, but it went to someone else. So tell me, each of you, what was the “one that got away”?

DH: That’s a tricky question, because if it got away then it was never really mine. There are roles throughout my career that I wanted, but I’m very happy for the actors who got them. One was Savion Glover’s role in Tap, because I’m a tap dancer. To work with Gregory Hines, Steve Condos, Harold Nichols, Jimmy Slyde and Sammy Davis, it really hurt when I didn’t get it. I just wanted to be in that space with those great actors. A lot of those guys started passing on right after that. Antwone Fisher was another role I really wanted. I would love to have shared the screen with Denzel Washington for that amount of time. Derek Luke got the role and Derek’s a good friend of mine. It really exploded his career. I was happy for the actors who got those parts, but I would be lying if I said I hadn’t wanted those roles.

MP: Right after I did Clockers with Spike Lee, I auditioned for Dead Presidents. I was right down to the wire for the role of Anthony and they decided to go with Larenz Tate, which was fine because Larenz is a friend of mine. They were shooting in New York, it took place in the Bronx, and the Hughes brothers were just riding high off Menace II Society. I remember meeting with the casting director, who thought they were going to give me the part. But I guess the Hughes brothers already had a relationship with Larenz—who had stolen the show in Menace II Society. I guess they figured We’ll ride with him.

EDGE: Have you ever walked out of an audition thinking you’d messed it up?

DH: Going back to Antwone Fisher, I got a chance to read with Denzel. Now normally after I read a script, I don’t usually get caught up in the things that are in parentheses— words like ANGRY or UPSET. I leave that alone and go with my own journey. For some reason in that particular situation, I saw the word ANGRY sticking out. So when I’m in the room and it’s me with Denzel, that word kept popping into my head. So I’m reading and I’m being angry. The first thing Denzel said to me was, “Why you so angry?”

EDGE: But your career survived.

Photo courtesy of Nadine Raphael

DH: It did. So to all the people out there, I say just because you mess up on one thing doesn’t mean it’s the end of the world.

EDGE: Back to Stick Fly—Dulé, how does this cast compare to some of the others you’ve worked with?

DH: One of the perks of being in this business is just the camaraderie that exists with the people we work with. That’s what makes a show like Psych successful. These people are really good at what they do. And they also happen to be really nice people—people that you want to hang with and have drinks with later. Look at Stick Fly. When you work with actors like Ruben Santiago-Hudson, Tracie Thoms, Rosie Benton—they challenge you just to step up to another level. Ruben is a bona fide professional veteran, Tony Award winner and dynamic actor. You can’t half-step it with Ruben. It’s not going to happen. They’re all phenomenal actors. Then you get blessed to be in a situation where you’re seeing someone like Condola Rashad—someone who is already great, but her career is just getting started. I’m really honored to be on the stage with her. She’s knocking it out of the park now, but in ten, fifteen years I truly believe I will be saying that I was a part of her journey to greatness.

EDGE: What does your director, Kenny Leon, bring to the show, and how might someone in the audience at Stick Fly experience that?

MP: Kenny brings a realism to it. I’ve been to many Broadway shows and the worst thing in the world is to sit there and you’re bored out of your mind. You start fidgeting, you start falling asleep. Kenny not only stresses pace, but telling a story and being good at what you do as an actor. A good analogy would be a dog race. We, the actors, are the rabbit. The audience is the dog. We want them to come up to our speed, and I think we succeed. Doing a play is a totally different machine when it comes to directing. I love Kenny’s direction.

DH: I have to say that most of the directors I have had a chance to work with have been brilliant. But there are things about Kenny that remind me of George Wolf, the director of Bring in ‘da Noise, Bring in ‘da Funk. They are both very specific about every little detail. Everything we’re doing on stage in Stick Fly is meant to draw the audience’s attention to where Kenny wants it to be. That’s cool, because sometimes as an actor you forget those things.

Editor’s Note: Zack Burgess writes about politics, sports and culture for a variety of publications and web sites. You can read his work at zackburgess.com.

As a performer and storyteller, Chazz Palminteri holds a special place in American popular culture. Coming of age in the Bronx during the 1950s, he was surrounded by the neighborhood characters and themes that would one day populate A Bronx Tale, the beloved one-man show and film that catapulted him to stardom. Palminteri’s creative journey has been marked by artistic, critical and financial successes—both as an actor and writer (and, yes, even as a restaurateur). Yet as EDGE’s Assignments Editor Tracey Smith discovered, as far as Palminteri has come, his comfort zone is still that stoop at 187th and Belmont. All these years later, for an observer of the human condition, it’s still the best seat in the house.

EDGE: The apocryphal story about A Bronx Tale is that you turned down a million dollars for the movie rights because you wanted to write the screenplay and play Sonny yourself. True?

CP: Yes, it is absolutely true that I turned down a million dollars. I wrote Bronx Tale: A One Man Show to showcase myself and show people that I could play eighteen different characters. I wanted to play Sonny. I wanted to write the screenplay. It’s about my life and I didn’t want anybody from Hollywood taking it and doctoring it up, sanitizing it or whitewashing it. I wanted it to be real, you know, and truthful. They felt they couldn’t make a movie without a star. I wanted people to see what I could do. So I just said no.

EDGE: That’s commitment.

CP: Everybody in Hollywood went crazy. The first offer was $250,000, the next offer was $500,000. I just said no. Don’t forget now Tracey, I was running out of money. I was down to my last $200. Actually $187.00 to be exact. I kept saying no and then they said $1,000,000—and I said no again.

EDGE: Enter Robert DeNiro.

CP: Yes, a week later Robert DeNiro walked into the theater and saw it, loved it and came backstage. He told me how much he thought it was great and how great I was, and said, “Look, you’d be great as Sonny. And you should write the screenplay, because it’s about your life. You should be Sonny and it’ll be real and I’ll make it real. You make it with me, I’ll make it come to life, I’ll play Lorenzo, your father, and I’ll direct it and we can be partners. I give you my word.” I shook his hand, and the rest, as they say, is history.

EDGE: You and DeNiro became good friends.

CP: Bob is a really good friend. We’ve been friends for 25 years. We’ve done several films together, and been involved in many projects. He’s the best. He wants everything right, you know, and he doesn’t care how long it takes. He’s a perfectionist, as am I. That’s why we get along so well. We have great chemistry.

EDGE: How would you rate him as a director?

CP: I’ve always said that the reason why A Bronx Tale turned out so good is because I had a great director who wanted to make it “life.” A bad director can spoil a great script, and a good director can make a bad script into a movie. But a great director can make a really good script fly, and that’s what Bob did. I wrote a really good script. Really good. And Robert DeNiro made it fly. He made it real.

EDGE: Which parts of the story were autobiographical?

CP: I would say a good 80 to 85 percent of the movie is autobiographical. It really stems from when I was nine years old sitting on the stoop and I saw this man kill another man right in front of me. Just like they did in the movie, exactly the same. My father came down and grabbed me upstairs, and then the cops came. The reality is I never went down and did a lineup. I just said I didn’t see anything, and that was it. Also befriending the wiseguys when I was a kid, throwing the dice for them, going to get things for them—that’s all true. Also my dad was a bus driver. He worked right off of 187th street. My mother used to be out the window all the time. I fell in love in with a black girl at the age of 17. Some of the guys I knew died in a racial attack with some black youths. The majority is true. But I had to blend it all in the same timeframe.

EDGE: There are a lot of complex themes in A Bronx Tale. What affects people most deeply? What aspect of the story do they identify with the most?

CP: I wanted to talk about the working man and what my dad instilled in me. Yet as good as my father was, he had some qualities that he had to change. And regardless of how much of a bad guy Sonny was, people loved him. They were sad when he died. Taking the best of Sonny and the best of my father and becoming this man who I am today—that’s what resonates most with everybody. Also, I think because it’s not about black and white or good versus evil, people just love the story. They identify with the different characters.

EDGE: Out of curiosity, how does one play 18 characters in a one-man show?

CP: A lot of practice and a lot of rehearsals. But God has given me the gift and somehow I’ve mastered it.

EDGE: What prompted you to write the one-man show?

CP: Desperation. It was desperation. I was doing a lot of small roles and couldn’t break into the higher echelon. I thought, if you won’t give me a great part, I’ll write one myself and show you how good I am. I’ll make my own story, and make you listen to me.

EDGE: Your next role after A Bronx Tale was Cheech in Bullets Over Broadway. You played a mob heavy with a genius for writing dialogue…and were nominated for an Academy Award. Was that character in the original script, or did it evolve after you got the part?

Photo credit: Joan Marcus

CP: Woody Allen always tells people, “When I found Chazz Palminteri, he was born to play the part.” It was written that way. When I first read it I was like “Holy smokes, this is amazing!” I couldn’t get over it.

EDGE: After these two films, how did life change for Chazz Palminteri?

CP: Oh God! More money! Much more money! And more opportunities, oh yeah! I exploded out of the box!

EDGE: Of the 50-plus films you’ve done since then, which ones should I go back and watch again to see you in a really interesting performance?

CP: Okay, let’s see, Hurlyburly is one. A Guide to Recognize Your Saints is one definitely. And I would say Mighty Fine, the one I just did with Andie McDowell, is a great one. Mulholland Falls is another one.

EDGE: You have a recurring role as Shorty on the hit series Modern Family.

CP: Modern Family is a great show, I love the people. They write me in as often as they can and I return. They’re like family, I truly enjoy working with the cast. I play Jay’s longtime best friend. It is just hilarious, a great show.

EDGE: Okay now to the serious stuff. The Yankees. What happened in the playoffs?

CP: Well, you know, they just didn’t win. It’s that simple. We won 97 games during the regular season. I never liked five games as a playoff format. I think everything should be seven games. That’s how you can tell who the best team is.

EDGE: You are playing Babe Ruth in the new movie Henry & Me. How great was that?

CP: That was great. Anything to do with the Yankees is not bad. I have always loved sports. My father used to take me to the games at Yankee Stadium. I loved Mickey Mantle back in those days and collected his baseball cards. I love the Giants, the Rangers.

EDGE: I read that John Franco was one of the producers of Henry & Me. Were you okay working for a Met?

CP: That didn’t bother me. I’m not rooting for his baseball team, but that didn’t bother me at all. John Franco is a very nice guy.

EDGE: So when is the long-awaited Chazz Palminteri autobiography coming out?

CP: I write screenplays and I write plays, but not a book yet. It’s just not time. I get my point of view out in my movies or my plays. My new four-character play, Human, should be out in 2012. I’m very excited about that. Maybe when I have more time and I’m older, I’ll sit down and write a book about my life.

EDGE: You are performing A Bronx Tale at the Mirage in Las Vegas this March. This past summer, you had a nice run in Atlantic City. Having performed this play in various places, have you noticed any regional differences in the way you relate to the audience—or the way they relate to you?

CP: I thought I was going to see that. But it’s the same thing everywhere. No difference from region to region. I can’t explain it. What I find flattering and a little strange, though, is how certain lines from A Bronx Tale have seeped into the dialogue and culture.

EDGE: How so?

CP: Once, I got on a plane, and as soon as the door closed, the pilot said, “Well, ladies and gentlemen, now you’se can’t leave.”

EDGE: Sonny’s line from the scene where the wiseguys lock the door at the bar and work over the bikers!

CP: Right. I laughed. I was like, Wow!

There is no greater joy for a father than seeing his daughter follow him into the family business. Because of the business he’s in, Joe Mantegna is granted the added pleasure of literally watching his daughter, Gia, as she makes a name for herself on stage and screen. Every Hollywood family deals with this dynamic a little differently, of course. Yet as J.M. Stewart discovered during a leisurely meal at Taste of Chicago in Burbank, Joe and Gia handle it particularly well. If you’re one of those people who thinks that acting is an art and parenting is a job, well, this interview may change your mind. For the Mantegnas, it’s clearly the other way around.

EDGE: I would like to start by avoiding the obvious question, which goes something like, ‘Gia, what have you learned about acting from your father…’ (simultaneously)

JM: Everything. (simultaneously)

GM: Nothing. Absolutely nothing.

EDGE: Okay then. Well, in the spirit of avoiding that question, Joe, what have you learned from watching Gia?

JM: Part of what I’ve learned is that what we do is inherent. It’s just there. When I became an actor, I saw the children of actors working and wondered, What’s that about? Would they have even gotten into acting if they weren’t following their parents? I came from a background of no actors, nobody in my family was is show business at all. I thought, This can’t be genetic. It must be one of those things where the kids go, ‘Oh, my dad’s doing it so I’m going to do it.’ But then I’d see Jane and Peter Fonda, and Jeff and Beau Bridges and think, Oh, they’ve got it. As I got more into the business, I started to realize that they’re good because it’s in them. I’ve been around enough actors now to know that you can teach some things, but you’ve either got it or you don’t got it.

EDGE: Like sports.

JM: Right. You can see the kids that have the kind of natural ability they can improve upon. And then there are the kids that, well, it’s not their cup of tea. Gia does have it. I’m not kidding myself because she’s my daughter. I would be the cruelest critic of all if I felt she didn’t have that thing she can build on. I would have told her years ago, ‘I know that you think this is fun and all, but it’s not for you.’ If anything, I have to instill in her not to be like I am, not to be lazy about it.

EDGE: Lazy in what respect?

JM: I found myself thinking, I can do this, I don’t need to work on it that much. I’m not the most driven actor in the world. But I’ve gotten by and made it in spite of that.

EDGE: If you were more driven, how do you think it would have affected your career?

JM: Maybe things would have happened sooner if I had focused more attention on it. Maybe not. I don’t know. But it wasn’t me. I’ve seen other actors do that. Every day they devote twenty-four hours to How can I succeed? I was, like, If it happens, it happens. I never pushed myself to where it infringed on my life, to where I really had to sacrifice something. I enjoyed it, I wanted it to be fun. That’s my approach to a lot of things. I didn’t think, Oh my God, if I don’t make it I’ll die! I was, like, If things don’t work out, I’ll become a forest ranger.

GM: A forest ranger? Really?

JM: In reality, I probably would have been a photographer.

EDGE: Gia, what percentage of your father’s work have you seen?

GM: Five percent. I’ve seen very little because most of it was released when I was too young to watch, or it was R rated. Half the films he dies in and I was too frightened to watch. I remember flipping through the channels watching a movie, and I saw my dad walking down the street with a bouquet of flowers. I went, Yes! Dad’s on TV in something I can watch, this is so cool! A couple of minutes pass and he’s shot down with a machine gun. It affected me much more than I thought it would. I remember seeing Baby’s Day Out when I was four. We thought, Finally he did a movie that the family could watch. We’re sitting on the bed, my sister’s right next to me, and here comes the scene when the baby’s in his pants, lighting his crotch on fire.

JM: Yeah, we’re thinking it’s a great family movie. But I get beaten up by gorillas and blown up. It was a horror film to them.

GM: It was awful. I remember running out of the room crying. And dad’s hitting his face, saying, ‘Look it’s me, I’m okay. I’m here.’ So I never really sat down and watched my dad’s movies, because he was probably going to get the crap kicked out of him.

EDGE: Even now?

GM: Well, I watch Criminal Minds. But I can’t really watch it alone because it’s such a terrifying show.

EDGE: Joe, Gia has been in a couple of movies where she’s strung up and begging for her life—

GM: Apple doesn’t fall far from the tree, I guess.

EDGE: Joe, do you have the same reaction?

JM: I know the process. I’m totally familiar with it. I can disassociate. It’s disturbing, but I know what’s going on.

GM: My mom sometimes has to leave when she’s on set during those kinds of chilling scenes. She freaks out.

JM: In his book, David Mamet writes about a memorable directorial moment during House of Games. He was shooting the scene at the end when I get shot. It’s a night shoot, we’re up at Sea-Tac Airport. My wife is watching on the monitor sitting next to Dave. I get shot, and she starts crying.

GM: I never knew that.

JM: Dave was like, Wow, this is wild. She’s into it. She’s crying. She’s totally in the scene. He remembered it and put it in his book. I didn’t know about it—I was doing the scene. So, I understand that anyone can get caught up in the moment.

GM: I saw Three Amigos last night. It was pretty hilarious. I didn’t even know you were in that until I turned it on, and there you were. If I’m ever watching something that you’re in, it’s probably coincidental.

EDGE: Have you had a moment watching your father where you said, ‘Wow, that was really good?’

GM: I’m not going to lie to you. It’s very hard to watch anyone I know in a movie or on TV and be objective, or even remove myself from thinking of the technicality of the scene. I’m always thinking, How did they do that in one shot? Was there a problem with the continuity? Why did the actor make those particular choices? I’m young. I’m still learning. I’m trying to figure it out, break it down. If I analyzed everything he did, I’d drive myself crazy.

EDGE: Joe, have you ever seen Gia’s work and gone, “Wow, that was impressive?”

JM: The time I saw her in Annie. There were open auditions and my older daughter, Mia, who is autistic, was also trying out for it. They came home and said, ‘We both got in!’ My wife and I were really excited, but I have to admit that we were mostly excited about Mia, because she was going to be cast in a play. It was a big deal. I thought they both would have been cast in the chorus. We asked, ‘Who are you going to be?’ Mia says, ‘I’m going to be Pepper.’ Great! I said, ‘Gia what are you doing?’ She says, ‘I’m Annie.’ I didn’t even know she sang!

EDGE: How old were you?

GM: I was really young. We had to lie about my age. I was turning the minimum age you had to be, but I wasn’t there yet. I was ten.

JM: That’s when I first knew she had it. Based on her age and everything, you could tell. I sent the tape of the show to my old drama teacher and he said, “It was like seeing you again, Joe, when you were starting.’

EDGE: Will we hear you sing again, in a movie or on stage?

GM: Oh, no.

JM: You should. You really should.

GM: My mom thought that I was going to be a singer. But I was always terrified of the music industry because I felt like there was so much competition, and you had to pick your style and stick with it. Every five minutes I’d be changing my genre. Acting was just something that was a little more natural for me. Maybe in the future I’ll sing. My mom and dad would like that.

JM: That’s one thing I think you should really do, musical comedy. You have the talent. Why not just give it a shot? That’s what I thought I was going to end up doing, because I did so much of it when I started out. I did Hair. I did Godspell. It didn’t work out that way, but you never know.

EDGE: When did you do Hair?

JM: In 1969. It was the first professional play I did. I was naked on stage every night.

EDGE: What did your mom think of that?

JM: She came opening night. The other actors were not keen on having their parents there, so they asked me, ‘Is she cool?’ I said, ‘Yeah, yeah, she’ll get it.’ And after the play my mother comes backstage and says, ‘You look good up there naked…some of these other kids look out of shape.’ The cast couldn’t believe it. But that’s my mother. It’s all a mystery to her.

EDGE: How so?

JM: My mother just turned ninety-six and I’m still not positive she knows what I do. I asked my brother, who is eight years older than me, ‘You know all the times I was pursuing acting in high school, in junior college, and professionally, and banging around Chicago…my parents never said one word about it to me, did they say anything to you?’ He said, ‘Yeah, one time they pulled me aside and asked, What’s with your brother and this acting? Should we say something? Should we stop him?’ They were looking to him for advice. Luckily, my brother in his wisdom said, no, just leave him alone. It’s not dangerous, and if it doesn’t work out he’ll move on to something else. I think they were relieved. It’s like the sex education talk my father never gave me. I was seventeen and he came up to me and said, ‘Listen, we need to talk about sex.’ I said, ‘No… we don’t.’ He was like, Okay. Being Sicilian he was quiet anyway, but it was another burden off his shoulders.

EDGE: In the film Uncle Nino you worked together as father and daughter. Was it totally natural, or totally nervewracking?

JM: I thought it was totally natural.

GM: I thought that situation was great because it gave me the opportunity to experience a set for the first time with my dad helping me through it.

JM: It was a perfect film for her to start with. It was a feelgood movie. Bob Shellcross wrote and directed it. I loved the guy.

GM: Yeah, it was like a family.

EDGE: Gia, where would you like to be five years from now as an actress?

GM: I hope that I am doing something that makes me happy, and I hope that I can continue to stay with the choices I make for myself instead of being told what to do. At my age it’s very easy to be typecast in a certain way, and I’ve been so scared of that. I have friends who are working every day, making money, supporting themselves, but they’re not happy. I’d rather be making five amazing, little independent films, playing lots of different characters, doing something fun, instead of doing one role that you can’t break out of.

JM: She doesn’t want to be a Disney kid.

GM: Okay, dad, I didn’t want to say that.

JM: I don’t mean specifically. I mean generally. You’re put in a bag in a cookie-cutter kind of way. That’s all I’m saying.

EDGE: Okay, so here’s the big Joe Mantegna’s daughter question—

GM: O-M-G! Bring it.

EDGE: Which question about your dad are you most tired of answering?

JM: Why is he so good looking.

GM: Yeah, that one. You know I actually creep on my dad’s IMDB sometimes, and people say things like Joe Mantegna is SO hot.

JM: I better check that out.

GM: So disturbing.

Editors Note: Gia Mantegna is 21. She played Vanessa on the series Gigantic and has a lead role in the featured film Leashed, which will be released in 2012. Joe Mantegna is the star of the CBS hit Criminal Minds. He will play Bugsy Siegel in the 2012 film Kill Me, Deadly. J.M. Stewart is a freelance writer who lives north of Los Angeles. As the waiters were clearing their table, Gia said that it was nice to “sit down with my dad and talk. We don’t do that that much. We just have dinner and that’s it. Thank you.”

Vincent Pastore is a hard man to pin down. His interests are many, his gears constantly turning, his attention often divided. Tracey Smith chased him all summer for this interview, hoping to capture the essence of a show business Renaissance Man. To her delight, Pastore turned out to be that Renaissance Man in every conceivable way. Indeed, one can easily imagine him perched upon the throne of a 16th century city-state…or transforming a block of marble into a masterpiece for a wealthy patron…or dodging the business end of an enemy lance at the vanguard of an attacking army. From his tour de force as the conflicted criminal underboss Salvatore “Big Pussy” Bonpinsiero on The Sopranos to his unforgettable stints on reality TV, Pastore has become one of the most cherished characters—and character actors—of our time.

EDGE: The bad guys on The Sopranos could be warm and vulnerable and then suddenly turn and become cold, heartless killers. Your character had the added dimension of being deeply conflicted about being an informant. Did you enjoy that extra challenge?

VP: I did. David Chase wrote that role for an actor who could play a tough guy who also could be sensitive. I saw Big Pussy as a man with a big heart, and that was my choice of how I played that role. In that scene where he is crying in the bathroom at Anthony Jr.’s confirmation, you knew it was not just because he was a rat—he was betraying his friends, which was even harder to deal with.

EDGE: Was Big Pussy the most subtly textured character you have played in your career?

VP: Hmm, that’s a tough question. Probably. Going through so much mental turmoil over such a long period of time, dealing with the tension of if and when he was ever going to get caught by his friends for being an informant. I can tell you that it stayed with me as an actor, over five days a week of taping. It was rather tough.

EDGE: In addition to your acting, you are involved with a lot of plays.

VP: I try to produce three plays a year. It really enables people to see the actors work. I started doing this four years ago. It’s enabled me to continue working with several actors from The Sopranos, including Maureen Van Zandt, Nicholas Giangiulio, Joe Lisi, Garry Pastore, Tony Rossi, Anthony Ribustello and Janet Sarno. I don’t make a lot of money because I own the theater company, but we’ve had a pretty good run.

EDGE: Is that a different kind of stressful?

VP: Yes. The behind-the-scenes aspects of theater can be very stressful. I recently co-produced the revival of Lamp Post Reunion by Hoboken playwright Louis LaRusso. Danny Aiello played the lead character. There were frequent worries about who was ready or on cue. Plus the mood of the main character was dark.

EDGE: Your television and film roles are typically big, rich characters. How much of what we see on screen is you, and how much of that is you slipping into character?

VP: That depends on the role. I am currently being filmed as a mayor in Surviving Family and I’m not acting like the typical wiseguy that I’ve played in the past, like Angelo Ruggiero from Gotti or Big Pussy from The Sopranos. In Surviving Family I am acting, whereas those other characters are closer to who I am. I am Angelo. I am Big Pussy. And trust me, playing a mayor is a whole lot different than playing a wiseguy. There’s no comparison.

EDGE: What about the over-the-top Vincent Pastore we’ve sometimes seen on reality television shows, like Famous Food, The Apprentice and Celebrity Fit Club?

VP: What reality producers try to do is put me up against certain situations to bring out the best or worst in me, which is what the reality television mission is, in all actuality. They place you in a bad improvisation scene with someone you genuinely don’t like, and you’re forced to work with them. They want drama, emotion and conflict. Sometimes my temper shows, but I believe that as long as you don’t take it home to your family, and keep it out of your personal life, it’s okay.

EDGE: You pointed out in a previous issue of this magazine that not everyone can play a wiseguy. By the same token, no two wiseguys are alike. Big Pussy was a fictional character. But the part you played in Gotti was not. What was the challenge in interpreting that role?

VP: Angelo Ruggiero was a real person, so it was key to know the relationship between the two men. John and Angelo had a priceless bond. Armand Assante, who played Gotti, told me that the song The Wind Beneath My Wings reminded him of Ruggiero. He was always right behind John Gotti. He was loyal, and he never ratted. So you have to do the research, know the character. It’s true—not everyone can do this, not everybody can play a wiseguy.

EDGE: You mentioned that Angelo Ruggiero and Big Pussy are “you.” How often do you reach back and draw on your experiences outside the theater, to the real-life characters you’ve known, when you play a part?

VP: A lot of people think I grew up with those kinds of people. The truth is that I grew up in a pure Italian-American home. Tradition. We lived in New Rochelle in an Italian neighborhood. I can still smell the pizza! Roller skating every Friday night at the Boys Club. Great memories. We saw bookies and loan sharks. But to play these roles you don’t rely on memories. You use your own personality and come up with a great character. And for the record, I never knew any rats.

EDGE: Your family lived above a social club.

VP: The Forester’s Club of America. It’s still there. When I was a kid, I packed the cases of beer, cleaned up after the card games. I still can remember the smell of the stinky ashtrays—which probably had an influence on me later owning a bar. Most days I would get there at 3:00. My dad was a school custodian. He’d get back around 6:00. My mom cooked for the men at the bar on the weekend. There was a big hall in the basement where they would play team games and card games. There was an annual picnic, a Christmas party. A lot of meetings took place here.

EDGE: Sounds like a typical Italian-American social club.

VP: Yes, but not like a John Gotti “social club.”

EDGE: Is it true that you got into acting through Matt and Kevin Dillon?

VP: It was really Kevin Dillon who got me my first break. I used to drive a limo in New York and that’s when I met the brothers for the first time. I told them about my dreams of becoming an actor. They ended up seeing me at this community theater I was doing, and Kevin helped me out. He gave me the direction I needed to finally act. From there, Danny Aiello really became my mentor.

EDGE: One last Sopranos question. Your partner in crime, Pauly Walnuts, went from one line in the first episode to mob superstardom. How did that go down?

VP: The Sopranos was my dear friend Tony Sirico’s last hurrah. He had been in the business for twenty years, had come up through the ranks of indie films, and he had to make an impact. He had to get physically and spiritually more space. In the pilot his one line was Barone wants to talk to you. My part was much bigger. David Chase liked Paulie Walnuts, so he made Tony a technical assistant, and eventually wrote him in more and more.

EDGE: What was it like sharing a scene with a character like Paulie Walnuts?

VP: Like sharing a camera with an elephant! He wanted the whole camera, (laughing) but he let me squeeze in there from time to time. Tony was so experienced. I respect him so much. He always came to work prepared, ready, knew his lines, make-up was perfect. I truly learned from him.

EDGE: Is there a brass-ring role that’s out there for you? Is there a character you were born to play?

VP: I’d love to be on a sitcom. I’d love to finally play someone warm and funny. 

Editor’s Note: Tracey Smith is a freelance writer who lives in Chicago. She is working on a book about contemporary films on gangsters and organized crime.

Ken Burns is an old soul with the face of a choirboy and a gift for storytelling. He is especially passionate about American history, and his need to know is contagious. For the past 30 years, Burns has been a fixture on public television. From his early one-hour films profiling such landmarks as the Brooklyn Bridge and Statue of Liberty to his monumental miniseries on the Civil War, World War II, baseball, jazz, our national parks and the American West, he has captivated audiences with the fruits of his meticulous research and his drive to document the history of America through the hearts and minds of those who actually lived it. With as many as six films in production at one time, Burns travels the country filming, researching, lecturing and fundraising—ever mindful of the grassroots appeal of his work. October 2 marks the start of his three-part opus Prohibition, the latest miniseries from Burns and his longtime creative team—including producer director Lynn Novick and screenwriter Geoffrey C. Ward. Award-winning entertainment journalist Judith Trojan caught up with Burns in his New Hampshire production office.

EDGE: Historian Stephen Ambrose once said that more Americans get their history from you than from any other source. Do you set out to educate the public about American history or does it go deeper than that?

KB: I don’t know what would be deeper than educating the American public, but my first impulse is more modest: I just want to tell a good story. Because these are stories in American history, and often stories that have been neglected by the distractions of an all-consuming media culture, I think they then become significant educational tools.

EDGE: Historical dramas like The King’s Speech are extremely popular and win Oscars. Why devote your career to documentaries and not docudramas or dramatic fiction?

KB: I’ve been interested in the power of what’s true—the drama in what was and what is—without any human interference. For me, it’s looking at things that actually happen, and I don’t feel the need to change them.

EDGE: Back in the day, films about American history were dry as toast and earmarked for educational markets. Why do you think your films have wide audience appeal?

KB: One of the big reasons is I’ve had the great good fortune for 30 years to work in public broadcasting, emphasis on the word public. They don’t interfere with the process; so I enjoy creative control—though we are dependent upon the kindness of philanthropists in corporate, foundation and governmental circles that complete our budgets. Once you’ve removed yourself from the hurly-burly of fashion and really evolve your own authentic style, then people begin to trust that.

EDGE: Your films transformed the genre and became stylistic benchmarks for historical documentaries.

KB: Well, I’m not interested in excavating the dates and facts of the past—the dusty, dry archaeology that has turned so many people off—but in what I’ve called an “emotional archaeology.” The logical world of the head doesn’t allow much room for passion. Yet we also know how dangerous those baser emotions can be that transform history into nostalgia—something I’m absolutely not interested in. The glue that holds together all of the dates and facts in my films is a higher emotional energy. I notice that the things that compel us most in life—the relationships of those closest to us, the work we’re proudest of, our faith, our patriotism— prove that often one plus one equals three. It’s that wonderful contradictory calculus that I think art pursues that I hope to touch on in my films.

EDGE: Are you driven by your own desire to learn about a subject?

KB: Another reason those historical documentaries were so dry is because it was somebody telling you something they already knew rather than, as I hope in my films, a process of discovery. I’m drawn to a subject not because I know about it and want to show off that knowledge or want to tell people what they should know about the subject, but the exact opposite. I want to share my process of discovery. It’s “Hey, let me tell you this unbelievable story I just heard!”

EDGE: April 12th marked the 150th anniversary of the start of the Civil War, and 21 years have passed since you premiered your groundbreaking miniseries. Has your mindset about the war changed in any way?

KB: I made the film because I was convinced the Civil War was the most important event in our nation’s history. There is nothing in the last 21 years that changed my mind. All of American history is in some ways governed by those four horrible years when, in order to become one, we tore ourselves in two. It’s the traumatic event in the childhood of our nation.

EDGE: Seventeen years elapsed between your coverage of the Civil War and World War II—the latter in your powerful 2007 miniseries The War. Why so long an interval?

KB: I vowed after The Civil War that I would not do another film on war. It was just very hard and emotionally painful to do it. But towards the end of the ’90s, I learned two awful facts: one, that we were losing a thousand WWII veterans a day; and two, that many graduating high school seniors thought we fought with the Germans against the Russians in the Second World War. I was appalled. I felt, for the reason that we were losing our soldiers and our historical compass, that I had to dive back into the subject of war.

EDGE: After completing two huge projects examining wartime America, did you come away with any life-altering insights?

KB: War is an interesting and troublesome subject. Americans—indeed, human beings—always forget the painful consequences of a war once it’s over. We begin to drape it with bloodless gallant myth. I think it’s the obligation of the artist to try to remind people of what actually takes place, which is in and of itself paradoxical. You, of course, find horrific aspects of human behavior; but also, you see stunning examples of bravery and courage, friendship and devotion, and loyalty and love that you weren’t expecting. So war has become the place at which a much more intensified study of human nature can occur. I’ve now committed to making a film on the history of Vietnam; and this will consume me, in every sense of that word, for the next six years.

EDGE: Your films consistently shine a light on unsung heroes.

KB: Oh, most definitely. I think one of the reasons American history seems like castor oil to so many people is that it’s usually reduced to a sequence of Presidential administrations punctuated by wars. The more engaging history is when that top-down version is balanced with a bottom-up version. I’ve tried to tell our histories from the bottom-up. What was happening to the individual private— North and South—in the Civil War? And in The War, WWII is reflected essentially through the eyes of people from four American cities: Waterbury, Connecticut; Mobile, Alabama; Sacramento, California; and tiny Luverne, Minnesota.

EDGE: Doris Kearns Goodwin’s quote at the end of The Tenth Inning, your latest series on baseball, beautifully sums up why the game is so enriching for the human spirit. She reminds us that we achieve immortality through our memories of communal activities.

KB: It’s so interesting that, in a way, we achieve our immortality through the stories told by the people that come after us. We keep our parents and grandparents alive that way, and then we too become those parents and grandparents whose lives are kept alive by the stories of their children. These are hugely important things; and they become the essential way in which human beings communicate with one another, whether it’s in documentary films or newspaper articles or on the street corner or over the backyard fence. If you tell history as if it’s over the backyard fence, you’ll have everybody’s ear.

EDGE: You’re now the father of two very young daughters, as well as two adult daughters.

KB: Yes, and I just became a grandfather! So my big girl, my baby, just had a baby.

EDGE: Another girl?

KB: Of course! That’s what we’ve been able to grow in the Burns house.

EDGE: Has having four daughters and now a granddaughter influenced your choice of subjects at all? There’s definitely a link between your latest miniseries, Prohibition, and your 1999 film about woman suffrage, Not for Ourselves Alone.

KB: The professional decisions are completely separate, but one ignores the role of women at one’s peril. I’m sure that’s in some way born from my experience living with lots of women who helped and influenced me.

EDGE: When people think of Temperance and Prohibition, Carry Nation immediately comes to mind; but many other women played pivotal roles.

KB: Yes, it was wives who went to their pastors to complain about their drunken husbands. It was women who fought not only for Emancipation for the slaves and a woman’s right to vote, but for Temperance. The highest-ranked woman in the U.S. government, Assistant Attorney General Mabel Walker Willebrandt, prosecuted Prohibition violators. And women were instrumental as flappers in flaunting the law and thumbing their noses at it. So it’s a wonderful story, which no one ever tells. I hope our film has been able to tell a much deeper story that at its heart engages women. And maybe that is my daughters speaking to me somehow.

EDGE: Prohibition seems to be a story about many people behaving badly. Did you have certain preconceived notions that were upended by the time you completed your research?

KB: It’s less upended than how superficial our knowledge of Prohibition is. We think of gangsters and Model-T’s careening through rain-slicked Chicago streets and tommy guns flashing and flappers and all of that stuff. That’s in our film, and it’s a very exciting and dynamic aspect of Prohibition; but the first hundred years before Prohibition went into effect are as essential to why it happened as anything, and we detail that in our film. This is a film about single issue political campaigns that kind of metastasized with unfortunate, unintended consequences. It’s about the demonization of immigrants. It’s about smear campaigns during Presidential campaigns. It’s about a whole group that felt like they’d lost control of the country and wanted to take it back. And those themes speak directly to what’s going on today without us having to point arrows at it.

EDGE: You grew up in a left-wing family. Has that had any affect on your work?

KB: No. I’ve struggled really hard to speak to everyone: red state, blue state, young, old, black, white, male, female, gay, straight, whatever. I’m interested in speaking to all of my fellow citizens and saying, “These are wonderful stories.” In a country in which civil discourse has decayed, history is still the table around which many of us can agree to come together. And that’s why I’ve been consciously and decidedly apolitical in my films.

EDGE: What about the use of social media today to connect diverse individuals and communities? Do you use it?

KB: I don’t use it. I’m an old fuddy-duddy and work way too hard and really don’t have the time. Everything’s a doubleedged sword. I think when we see how it’s enabled us to bond with people struggling for freedom in North Africa and the Middle East, we see its positive results. When we see how our children are consumed by social media to the extent that they can’t lift their eyes from their computers or their handheld devices to take a walk out in nature, we understand the pernicious effects. So, it’s very important to understand that everything under the sun has both negative and positive aspects. It’s our responsibility to reconcile those differences.

EDGE: If you were to compare yourself to any notable person in American history, who would it be? Have you felt a special kinship with any of your subjects?

KB: I feel a spectacular kinship with Louis Armstrong, Abraham Lincoln and Jackie Robinson; those three people are the bees’ knees for me. Now, would I compare myself to them? Never! I’ve had the great good fortune to spend a lot of time with them in the work that I do; and I feel that I’ve gotten to know them, even though they’re dead and I have not met them. I try my best to channel—if that’s the right word—the best of them to my fellow citizens to remind us of our greatest possibilities rather than our worst. These are the messages of love that Louis Armstrong gave us, of perseverance that Jackie Robinson displayed, and the wisdom and poetry that Abraham Lincoln exhibited. I’m proud to live in a country that had those three individuals as citizens.

Editor’s Note: Judith Trojan has written and edited more than 1,000 film and television reviews and celebrity profiles for books, magazines and newsletters. Her interviews have run the gamut from best-selling authors Mary Higgins Clark, Ann Rule and Frank McCourt to cultural touchstones Carroll O’Connor, Judy Collins and Caroll Spinney (aka Big Bird). Judy most recently helmed the Christopher Awards, a program that for the past 62 years has honored feature films, TV/cable programs, and books for adults and children that “affirm the highest values of the human spirit.”

Internationally acclaimed chef, bestselling author, beloved TV personality, retail superstar— there isn’t much Emeril Lagasse hasn’t done in the culinary world. So it might surprise you to know that among his 12 award-winning restaurants there has never been an Italian one. Until now. This June, Lagasse opens Emeril’s Italian Table at a casino near you—the Sands Casino Resort Bethlehem to be specific, just over an hour away, a straight shot out Rte. 78. It will be his third eatery at the Sands, joining Emeril’s Chop House and Burgers and More (aka BAM). Emeril’s Italian Table features the chef’s creative takes on the rustic Italian cuisine he grew up on, as well as classic meat, fish and vegetarian dishes, wood-oven pizzas and artisanal cheeses. Diners will get to experience the cooking process up close thanks to a large window into the kitchen. EDGE editor Mark Stewart tracked down Lagasse as he put the finishing touches on his latest creation.

EDGE: Everything you do is accompanied with such high expectations now—do you experience more pressure or anxiety when you are creating a restaurant concept, or after the restaurant opens?

EL: Opening a restaurant is tough but I love it. With Emeril’s Italian Table the feeling is definitely excitement. I’ve got a great team that has been part of my organization since the very beginning. We all work hard and put a lot of energy into the planning and the menu, crafting the right look and feel of the restaurant. Our style of service and hospitality originates from my restaurants in New Orleans and is a huge part of our culture and the Emeril’s experience. In the end, we’re in the business of making people happy.

EDGE: What signature touches will veteran diners recognize at your new place in the Sands?

EL: When I opened my first restaurant, Emeril’s, in New Orleans, we really wanted to take down the wall between the kitchen and the dining room. If you visit today, there’s really no barrier between the kitchen and dining room—you can see us at work and we can see who’s dining, and make sure everything is going smoothly out in the front of the house. Emeril’s Table will include an antipasto bar and a food bar so you get that same experience and interaction up close. The food bar is still one of the hottest seats in the house.

EDGE: You opened Emeril’s Chop House at the Sands a couple of years back, and people swear by it. What goes into making a first-rate chop house—from the menu to service to the atmosphere?

EL: This is our only Chop House, so the concept here is a steakhouse with a little twist on the usual standards – chops, steaks, free-range chicken, seasonal fish, lobster and there’s also some Creole-inspired dishes. We wanted to keep a little sensibility of an American steakhouse, except more open and modern. It’s a really inviting and comfortable atmosphere with great food and great service. Each one of my restaurants has its own personality. My belief is that a restaurant must have heart, soul, and always provide a great customer experience. Great food, great wines, and great service—that’s our philosophy regardless of location.

EDGE: In the pantheon of “celebrity chefs” I think of you as approaching things with a rock-star attitude. Does that come from the days when you were considering a career in music? Are you kind of living both lives at the same time?

EL: Well, I grew up doing both and I still love both. Music was and still is another big passion for me. I was in a local band and played the drums in high school. I was even offered a scholarship to music school, but I decided instead to enroll in culinary school at Johnson & Wales University. I have been fortunate enough to overlap the two along the road.

EDGE: When was that moment when you said to yourself Hey, I’m REALLY good at what I do!

EL: I was probably 8 or 9 years old when I realized that I might want to cook and be a chef one day.

EDGE: You are a proponent of eating local produce, and obviously New Jersey has a lot to offer in that respect. What do you feel is the #1 most misunderstood or underrated vegetable?

EL: Kale. I love cooking with fresh greens, lettuces and kale—whether it’s in a soup or sautéed and served with pasta and clams. Our menus generally rotate about three or four times a year. As we transition into summer we’ll make a few menu changes for the season and incorporate the local summer corn and tomatoes and you’ll really see the seasonal influences.

EDGE: This is our Mind Your Manors issue—manors referring to homes. What are some of the mistakes home chefs tend to make when they try to prepare big, bold cuts of meat themselves?

EL: Under-seasoning. Salt and pepper are a cook’s best tool. Sometimes people are afraid to season, but that’s the secret to a great steak—salt, pepper and maybe a little cayenne or essence. Sprinkle a little more salt at the end, and maybe a drizzle of olive oil and a squeeze of fresh lemon.

EDGE: Can you make a truly great steak at home without a commercial kitchen?

EL: A cast-iron skillet, grill pan, or a gas or charcoal outdoor grill are all you need. A lot of people are afraid of under cooking meat, so a good meat thermometer is a smart investment.

EDGE: How has home cooking—from your family background—expressed itself in your creations over the years? How often do you reach back 40 or 50 years for a little inspiration?

EL: Growing up, I was always interested in food from a very young age. My mom Miss Hilda, who is Portuguese and French Canadian, and my dad, Mr. John, were a huge influence on my life. I learned a great deal from my mom. She taught me how to cook and that started my passion for the culinary arts. I also worked at a local Portuguese bakery while in school. I learned the art of making breads, pastries and cakes. Everything I learned early on shows up in some way in my restaurants.

EDGE: What did you learn from baking?

EL: What I learned is one of the most important foundations of my restaurants: make everything from scratch. Bread, pasta, Andouille sausage, Worcestershire sauce, ice creams, sauce—you name it.

EDGE: No shortcuts?

EL: No. There are no shortcuts.

Editor’s Note: BAM! EDGE readers can Cook with Emeril. Go to edgemagonline.com for an Opening Night recipe from Emeril’s Italian Table.

Nothing says more about you than the interior of your home. Yet so often, we look at our surroundings and think, Is this really me? At moments like these, you may want to consider professional help. A shrink? Probably not. A designer? Most definitely. Indeed, sometimes the task of minding your manor is best left to someone with a keen and objective eye. Enter Clodagh, a legend in the design world who has worked in 90 countries and lent her talents to everything from cosmetics packaging to major hotels. Her inspirational and lifeenhancing designs feature sustainable materials and embrace Feng Shui, Chromotheraphy and Biophilia to create a signature look, structure and flow. Sarah Rossbach, a friend and colleague, connected with Clodagh in her Manhattan offices. There she manages the Clodagh Collection—an online showroom of home furnishings and accessories—and Clodagh Design, her design services studio.

EDGE: How do you feel about the old saying, Neer make friends with your interior decorator?

Clodagh: It’s the absolute opposite. The first large job I got, my client looked me up and down and said, “Come out to dinner.” Other designers had told me, “Never go out to dinner with your client!” But my client said, “I will never hire anyone for anything unless I can sit down at the dinner table and have a conversation and communicate well with them.” And that was a very wise thing.

EDGE: So what kind of expectations should each person have when they start working with an interior designer?

Clodagh: You should expect a designer to work as a travel guide to your own life. Although you may not know it, everybody possesses his or her own innate good taste. The role of a designer is to help you explore how you want to live—how you want to actualize your life in your home, how you want to see your children in a play space, so they can make a mess and have fun doing it. When working with me, you should expect to explore your lifestyle and discuss what you expect in your own home. And when I get those down into what I call a program, then I can start to design the project, and get it built and finished. I approach design using the four C’s: Contemplate your space; Cleanse your life of unwanted and unused things; Clarify your goals, needs and desires; and Create a space that is yours at the core.

EDGE: What is step one when choosing a designer?

Clodagh: The best thing you can do before interviewing designers is to go to a consultant who represents a lot of designers. That person will recommend a match for you. Or you can look at a lot of design magazines and start pulling out photos of what appeals to you, and then find out who designed them. Never analyze it—just know that something appeals to you. Hold on to this visceral reaction to the space. I think the best thing is to look at yourself, your family, your partner and really figure out how you want to live.

EDGE: At what point is the right time to start talking to an interior designer?

Clodagh: As soon as you realize you’ve done enough research yourself and you need some guidance.

EDGE: Is it okay to use a designer you find intimidating or overpowering?

Clodagh: No. Do not use an interior designer who intimidates you. You should never feel afraid to bring something up. Or have to endure a designer flouncing around telling you that you have terrible taste and an object you love “has to go.” At the same time, you do want someone strong, and you need to trust his or her taste. There should be mutual trust. It’s about the conversation. You need to be verbally compatible before you can be visually compatible. Because if you feel any tension, stress or negative reaction, or hidden agenda, it’s not for you. You don’t dictate to them, they don’t dictate to you.

EDGE: What happens when a client won’t part with something god-awful?

Clodagh: Usually the god-awful thing leaves without me having to do anything at all. If it’s been in storage, the client looks at it in the new environment and says, Oh, it doesn’t fit that well.

EDGE: You ask your clients a lot of questions before taking a job. What are the best questions a client asks you— the questions that tell you that the relationship is going to work well?

Clodagh: “Can you help me to live the way I want to live?” or “How can you guide me to have the sort of environment where I can have peace, balance and live harmoniously?” Really, the best thing a client can do for me is describe their ideal lifestyle, and then ask me how I can achieve it for them. And like any good conversation, I interject and suggest. I’m working with a client now who likes working in a really dark office. So I have to balance that darkness with enough light that I feel will be comfortable for him, position his desk properly, add the kind of color that will give the room a boost, and then go with it. And I need to temper his love of darkness with his wife’s love of light.

EDGE: Yin and yang.

Clodagh: Exactly. Another good question people ask is, “How can you do my children’s room?” I find children’s rooms to be over-stuffed and prefabricated in the parents’ mind, with little elephants painted on walls, when actually children are the most artistic creatures in the world. I love children and how their minds work. I install in their rooms chalkboards or dry point boards to use their markers on, so they can enjoy their environment. If it’s a house, I’ll make a room that’s specifically for them. It’s their room where they can make a mess and leave it if they need to—and not feel they have to clean up because Mommy or Daddy is coming. I get the joy that children feel in the spaces I design. I love that they’re empowered.

EDGE: What are the questions a client should listen for from a designer?

Clodagh: A designer should be asking you, “How can I help you live the way you want to live?”

EDGE: That’s a very spiritual approach.

Clodagh: Yes, there’s no such thing as an inanimate object. You’re working with people to achieve a spatial, visual and visceral harmony. And harmony is very hard to quantify. I sometimes tell my clients when they are choosing a chair to close their eyes. Sit in it and close your eyes and feel what’s the sensation. I find most clients focus on the visual. Susan Sontag said, “Sight is the most promiscuous of all the senses.” But in design, our other senses are equally important. So we need to explore all our feelings. For instance, we have a client in Texas who told us she has a very stressed-out life and that soaking every day in a warm tub helped relax her. So we focused a lot of energy and budget on creating an extraordinary bathroom. She brings into this beautiful space flowers and candles, and when she steps into her tub that is her time, where she releases her emotional and physical toxins. It’s a cleanse, where she regains herself.

EDGE: What do you get from creating a home that you don’t get from a corporate job?

Clodagh: With a home, if the family is happy and comfortable, they disappear. If not, you get telephone calls. With a corporate job, years down the road, people still refer to the design. People working in a large music office I designed 20 years ago still tell me how they love working in that space.

EDGE: What does a great client bring to the experience so you have a wonderful collaboration?

Clodagh: Challenge!

EDGE: In terms of interior design, what is the “shelf life” of a Clodagh job?

Clodagh: I’m having lunch today with someone whose apartment I designed 23 years ago. She and it are still going strong. Some old clients will call and ask me to freshen up my existing design after many years. They’ll invite me to have a look around, and then not allow me to touch anything. Just freshen it up. Maybe new sheets, new drapes, new shades. My feeling is good design should not have a shelf life. I work to create a timeless design.

You’ve probably heard that NASCAR has become a really big deal. You may even know a couple of closet racing fanatics yourself. But let’s be honest— New Jersey is hardly a breeding ground for stock-car racing talent. Well, just don’t tell that to the folks in Ocean County. Every weekend they root for one of their own, MARTIN TRUEX JR., to take the checkered flag against the likes of living legends Jimmie Johnson, Jeff Gordon and another “junior”—Dale Earnhardt. How does a world-class racer go from the dirt tracks of South Jersey to the legendary ovals and super speedways of NASCAR? Turns out, it’s all in the family.

EDGE: Your father was a short-track racing legend in the northeast, and also the local “Clam King”—the owner of a large seafood business here in New Jersey. What do you learn from a family culture like that?

MT: Well, it’s a little bit different from what most people grow up around. My dad was a businessman who raced as a hobby, but he was very serious about it. He had aspirations of moving up and running in the big time—which he did, but he never had the equipment to drive for a living. Obviously he put a lot into it. His passion for racing is one of the things that made him successful in business, because he knew he had to make money to go racing.

EDGE: So you understood the connection between passion and work ethic?

MT: Yes, I did. My dad worked really hard so he could go racing. That’s what I learned from him, that you have to work hard for something. And that to be a racer you really have to want to do it, because there are thousands of people who want to do it, too. You won’t get that chance without working hard and taking it seriously.

EDGE: When you and Martin Sr. talked about racing, did you focus much on the danger of the sport?

MT: No. As a racer you worry about how you can go faster, how you can do better than the guy in front of you. I don’t think anyone who has raced for a long time worries about the danger of it. You’re passionate about winning, and all that other stuff is just secondary.

EDGE: How was the competition in South Jersey when you were growing up?

MT: When I was racing in Jersey it was never what I’d call a “hotbed.” There were only a few places we could go. But there was good competition. So I was able to learn the ropes and refine my techniques at a young age. That had a lot to do with why I became successful.

EDGE: Did you feel at home behind the wheel when you first began competing as a teenager?

 MT: Racing was something I was interested in long before I got to do it. The will to get into racing was there for a long time. I was able to learn a lot from my dad—I didn’t just go and watch him race. I really paid attention to what was going on. I hung out in the shop, worked on the cars and tried to learn as much as I could. When I first got into a race car it was second nature. I felt I’d been doing it all my life. It felt natural to me.

EDGE: Your younger brother, Ryan, has gotten off to a fast start in his career. Do you think you two had a similar feel for racing?

MT: Yeah, I think we did. One day he came to my father and me and said, “I want to race.” We’d never really appreciated his interest in it, but once Ryan started, we could tell that he really knew what he was doing. He had been paying attention, he had been learning—almost with no one even noticing it. Right off the bat he was fast, and right off the bat he’s been winning. When Ryan got into a car, he clearly understood racing. He’s going to be running some Nationwide races this year and he’s only 18! That tells you how quickly he’s learned and how well he’s been able to adapt to different cars in different situations.

EDGE: You won back-to-back Busch championships in 2004 and 2005. Obviously, at that point you knew you could be successful at the top levels of auto racing. Looking back, what was your Eureka Moment—the time when you first thought to yourself, “Oh, man. I can do this!”

MT: As soon as I got in [Dale Earnhardt Jr.’s] Chance 2 car in 2003, I knew right away. The first time we ran, no one was expecting much and I had a shot at winning that race. I knew at that moment that this was my opportunity, and that I had to take advantage of it. I knew we could do it. With the crew we had and the equipment we had, I knew it was possible to win. From that moment on I was able to focus on what I needed to do as a driver and as a member of a team. And I had a great team. So we went into 2004 with a ton of confidence. We knew we could win races…and we ended up winning the championship.

EDGE: At the Daytona 500 in 2010, you were right there at the end, leading the race.

MT: Yeah. We had as good a shot as anyone. We were leading right up until the end. It’s hard to be the leader at the end of the restrictor plate races because you’re kind of a sitting duck.

EDGE: That’s an example of how razor-thin the difference is between winning a race and coming in, say sixth, which you did—just a couple of seconds behind the winner.

MT: It all comes down to circumstances. It takes not only your decisions but the decisions of the other drivers to determine the outcome. If two or three other guys had made different moves, and then I had made a different move, the outcome would have been completely different.

EDGE: Do you look back and say I should have done such-and-such differently?

MT: It’s really hard to second-guess, hard to look back. Obviously I wanted to win the race—that’s what I was there for—but there were 10 or 15 guys who could have won that race! So it’s a little bit of a crapshoot. That’s just the way it goes. You don’t think too much about the past, you just learn from it—and hope you do better the next time and win.

EDGE: One of the great challenges in any sport is filling the shoes of a legend. In 2010, you were hired to replace one of the all-time greats, Michael Waltrip, a two-time winner of the Daytona 500. And you were hired by Michael Waltrip— talk about pressure!

MT: No, working with Michael has just been a blast. When he got out of the car, he wasn’t looking for a guy who was “as good as me”—he was looking for someone he thought was better, because he wants his car to run up front. To have him pick me, that was a cool feeling. To be honest, it reminded me of when I was 18 and my dad was still racing in the Busch North series. We were planning on running a few races together and seeing what happened. We ran one race and he retired. He said, “I realize you’ve got a great opportunity to do what I always wanted to do. I’m going to quit right here and put all I can behind you to get you ready to go.”

EDGE: It’s the NASCAR version of the Circle of Life.

MT: I guess. But I can’t imagine stepping out of the car and handing over the keys, per se, to someone I thought would do a better job. It just blows my mind. I love racing so much, I can’t imagine being in a position where I’d do that. And for my brother Michael, racing’s all he’s known and done. He is so passionate about it. So that really showed his true character—and made me very proud. It makes me want to do a good job for him.

EDGE: The main sponsor of your car is NAPA. Do you have much interaction with them?

MT: NAPA Auto Parts has been a huge part of this sport for a long time, so it’s an honor to drive the race car for them and be the face of NAPA. Being a part of the company, of the storeowners and employees, that part’s actually been a lot of fun.

EDGE: Does winning a race ever get old? Do you still get the same thrill you did when you were a teenager?

MT: To be honest, these days, at this level, wins are so much more difficult to come by that it’s better. The harder they are to get the sweeter they are!

EDGE: When you return to New Jersey for the holidays to visit friends and family, is there any one place that is special to you?

MT: The Jersey Mike’s in Manahawkin. My friends and I spent a lot of time in there. You know how on TV you have those restaurants the high school kids use as their hangout place? That was ours. That place will always be special.

EDGE: A lot of people who grow up in Jersey don’t truly appreciate it until they’ve left. What is it about the Garden State that you remember most fondly?

MT: The thing I appreciate, having grown up at the Jersey Shore, is the natural diversity of the state. Where I lived in Ocean County I could go five minutes and be out on the bay fishing, or go five minutes in the other direction and be out in the woods hunting. But with my family being in the seafood business and me loving to fish, the salt water is what I miss the most. Jersey sometimes has a bad reputation, but if you ask me, it’s a pretty great place to live.

The power of television in our society has been made painfully clear by the current Reality TV craze. With careful editing and decent ratings, it seems any half-wit can become a major media star. Yet for all of the bad things this genre says about us as a culture, it can also do a lot of good. Exhibit A is IRINA SHABAYEVA, an outrageous young talent who rose above the competition to win Project Runway. For all its contrivances, the program transformed an industry unknown into New York’s newest designing woman—a career-launch that might never have happened but for the magic of basic cable. EDGE Style Editor Dan Brickley has been there and done that. The former host of TLC’s A Makeover Story is now a regular in US Weekly and runs a successful pop-culture web site. Dan caught up with Irina while she was putting the finishing touches on her new Fire & Ice collection (see pages 55-62), due to debut at Fashion Week in February. As he discovered, the first thing you need to know about Irina is that she was born in Georgia…and raised in Brooklyn.

EDGE: Georgia? I’m not hearing that.

IS: The Republic of Georgia—not USA Georgia. From grade one to four, I was in Georgia. Then my parents moved to the States and I finished my education in Brooklyn.

EDGE: How is that fusion of cultures reflected in your personality?

IS: Europeans in general are straightforward, want to offend anyone. I think there’s a way to be both, to be polite and honest. EDGE: Did this help you on Project Runway? IS: I think it did. EDGE: What goes through your head when you stand in front of the judges…and a couple of million viewers? IS: You’re nervous because of the lights and the cameras, and the whole situation makes your heart race. But I wasn’t really afraid of what the judges had to say because, chances are, whatever they found—good or bad—I already knew. Most creative people can look at their work and, if it’s not that great, call themselves out on it and just say, “Hey, you know what? Maybe this is a flop.” Everyone has had a day where nothing seems to come together. Unfortunately, on Project Runway the whole world knows about it because the judges make sure that you hear it over and over again. EDGE: Did the judges ever have a bad day? IS: Everyone had their days. EDGE: When you live, work and—most importantly— compete with other designers 24 hours a day, it can bring out the worst in someone. Yet you managed to stay above the fray. IS: Project Runway was a big deal, so I decided that if I was going to do it, I was really going to focus. I knew that some people would be really friendly and others would reach their boiling points quickly. The competition never stops. When we were off camera, we were still interacting, so someone could say something that would trigger a reaction the next day when the cameras were rolling again. In order to avoid getting swept up in the drama, I just stayed focused on doing what I was there to do—which was to meet a challenge every day. EDGE: One of your fellow contestants said that you weren’t there to make friends. Naturally, that’s the reputation you got as a “character” on the show. Fair or unfair? honest people. They call it like it is. American culture is a lot more sugar-coated. People are afraid to be honest sometimes because they don’t want to offend anyone. I think there’s a way to be both, to be polite and honest.

EDGE: Did this help you on Project Runway?

IS: I think it did.

EDGE: What goes through your head when you stand in front of the judges…and a couple of million viewers?

IS: You’re nervous because of the lights and the cameras, and the whole situation makes your heart race. But I wasn’t really afraid of what the judges had to say because, chances are, whatever they found—good or bad—I already knew. Most creative people can look at their work and, if it’s not that great, call themselves out on it and just say, “Hey, you know what? Maybe this is a flop.” Everyone has had a day where nothing seems to come together. Unfortunately, on Project Runway the whole world knows about it because the judges make sure that you hear it over and over again.

EDGE: Did the judges ever have a bad day?

IS: Everyone had their days.

EDGE: When you live, work and—most importantly— compete with other designers 24 hours a day, it can bring out the worst in someone. Yet you managed to stay above the fray.

IS: Project Runway was a big deal, so I decided that if I was going to do it, I was really going to focus. I knew that some people would be really friendly and others would reach their boiling points quickly. The competition never stops. When we were off camera, we were still interacting, so someone could say something that would trigger a reaction the next day when the cameras were rolling again. In order to avoid getting swept up in the drama, I just stayed focused on doing what I was there to do—which was to meet a challenge every day.

EDGE: One of your fellow contestants said that you weren’t there to make friends. Naturally, that’s the reputation you got as a “character” on the show. Fair or unfair?

IS: It bothered me that it was taken to an extreme. It wasn’t like I said, “I hate everyone!” It was more like, if I made friends, well, that was a bonus. I mean, why wouldn’t you want to make a friend or two? But I wasn’t there to socialize. It wasn’t cocktail hour. I wanted to win that thing.

EDGE: Is it true you hadn’t watched previous seasons of Project Runway?

IS: I never watched any season in its entirety. I watched it randomly, like I’d go over to someone’s house and they’d be watching it.

EDGE: And what was your impression? What made you think it was worth a shot?

IS: I thought it was great. I mean, I knew there was a downside to Reality TV, but I felt that if there was something positive that comes out of a show like this, then maybe it’s worth doing. Tim Gunn was a judge, and that gave me a comfort level because he taught me at Parsons. That was disclosed to everyone, by the way—it wasn’t like we had a secret friendship. But I thought if Tim was part of the show, he’s so respectable and honest, I knew the judging had to be fair.

EDGE: What was the casting process like?

IS: It was a challenge. I understood that they pick people for their work but also for their personality. A lot of talented and creative people tend to be introverted. I tend to be laidback, and I can’t be someone that I’m not, but luckily they felt my personality was a good fit.

EDGE: That first day, when you were surrounded by all the lights and cameras and producers, did you think, “Oh my God! I’ve got to look good, too!”

IS: That first day, Dan? I did. But soon I was like, “Who cares? I’m here to win this thing!” I wasn’t going to look glamorous—it was too exhausting. My sister would watch and say, “Why are you wearing that grandma outfit? Why are you wearing that headband?” And I’d be like, “Because my hair is gross! I haven’t washed it in days!” In retrospect, they could have given us more time to get ourselves together, but I think they wanted us looking as tired and worn out as possible because then viewers sympathize with you. And people should have sympathized with us. We were beyond exhausted. There were days when I was thought, “Do I really have to move now? I don’t think my body can.” Ultimately, it was fun—in a weird, distorted way.

EDGE: When did you think you actually had a shot at winning Project Runway?

IS: A little more than half way into the competition. I was standing on the runway and it was my turn to go when one of the lights blew out. They brought out this three-story ladder to replace the light, which took an hour. I had that hour to just stand there and think. And it came to me. “I could really win this thing…and I think I am winning. I’m so winning this thing!”

EDGE: After you won, was there a clock ticking in your head? Did you think, “I’ve got to capitalize on this notoriety and strike while the iron is hot?” IS: I didn’t assume anything. As you know, Dan, the fashion industry is funny. People in the business like the show. They think it’s great. But it doesn’t validate you in their eyes. What validates you is your work. So I didn’t feel I had this celebrity glow that would take me places. Yes, it’s great to have fans and a recognizable name, but remember, those fans aren’t necessarily your consumers. Building a business—a real, successful business—is very different than winning Project Runway.

EDGE: So what’s it going to be for Irina Shabayeva? Custom order? Big label? Big backing?

IS: Well, I launched an evening line last season, as well as a bridal collection, and it’s been great. I’m at Kleinfeld Bridal and I’m in great company—Monique Lhuillier and Oscar De La Renta—so I’m going to stick with doing the bridal and evening custom order. In terms of my Ready To Wear, I want to build it up and become a brand because it has a place in the market. I’ve gotten so much great feedback. I just have to figure out how to juggle both.

EDGE: If you had to describe your aesthetic in three words, what would they be?

IS: Feminine. Strong. Luxurious.

EDGE: If you could pick anyone, past or present, to represent your line, who would it be?

IS: That’s a hard question. The first person who pops into my mind is Cate Blanchett. I think she’s a phenomenal actress. Maybe Queen Elizabeth I? She came from nothing to become queen, and struggled with being a woman and trying to rule a country. Cate played her in the movie, which I guess is why I thought of her.

EDGE: If you had to create a bumper sticker for all of the young designers who are following you into the business, what would it say?

IS: “Be Prepared to Make Sacrifices.”

EDGE: Meaning what?

IS: You have to grow up a little sooner. If you really want to perfect your craft, it requires a lot of time and dedication. There’s not a lot left over for fun and partying. I’m 29 and I still struggle to find balance in my life and do what I love to do. It’s a constant struggle. EDGE

If you haven’t caught ANNE BURRELL on the hit series Worst Cooks in America, you’ve almost certainly seen her somewhere else. The Food Network star is, well, kind of hard to miss. Over the years, Anne’s big personality, signature hairstyle and culinary creativity have made an indelible impression on viewers of Secrets of a Restaurant Chef and patrons at Manhattan eateries Felidia, Savoy, Lumi and Centro Vinoteca. And, of course, there was her unforgettable stint as Mario Batali’s second in command on Iron Chef America. On Worst Cooks, Anne plays drill sergeant to a team of culinary clods as they go head-to-head with a platoon led by co-host Robert Irvine. Like most EDGE readers, Assignments Editor Zack Burgess has been known to whip up an Italian meal or two. He jumped at the opportunity to compare notes with one of America’s most engaging and innovative Italian chefs.

EDGE: What kind of town produces an Anne Burrell?

AB: I grew up in a tiny town in upstate New York. Very Beaver Cleaver-ville. Zero ethnicity, a very upper-middleclass, boring existence. I was like, “I have stuff I’ve got to do. I’ve got to get out of here.”

EDGE: Is your hair a recent thing, or does it date back to those days?

AB: I’ve always had wild hair—always, always. In high school and everything,

AB: I’ve always liked the spiky hair. What can I say? I’m a child of the 80’s.

EDGE: How did your family feel when they saw you gravitating to cooking?

AB: When I decided to cook there was no Food Network. It was before being a chef was cool. It was a strange thing, but it was the right thing for me. My mother was always very supportive. My dad was not supportive at first. He is now.

EDGE: Who was your culinary inspiration?

AB: I guess I can say I started having a culinary inspiration when I was three. I told my mother, “I have a friend named Julia.” Who? “Julia Child. I watch her every day on TV.” Over the years, I developed a love for all things Italian, so definitely Mario Batali and Lidia Bastianich.

EDGE: After training at CIA, why all things Italian?

AB: The Culinary Institute of America has a very French based curriculum. I loved learning and knowing how to cook, but it was the Italian mentality of the ingredients and the simplicity of everything that just spoke to me. EDGE: When people cook Italian at home, what is the thing they tend to overlook?

AB: A lot of people think that it’s just pasta and red sauce. There’s so much more to the kitchen than that. Get a really good olive oil and cook with the best ingredients that you can afford. Also, think about seasonality. There are so many things that are in season, and those are the things that taste the best.

EDGE: EDGE readers are brilliant cooks. But just for the record, give us the five things every kitchen should have.

AB: Well, if you’re remodeling a kitchen, get a really good stove and, if you can, get a stove with gas burners. I also like an island in a kitchen. Invest in a good set of knives and a good set of pots and pans. You can buy food processors and mixers, too, but I’m really about low-tech stuff— wooden spoons and food mills and rubber spatulas.

EDGE: When you’re working with America’s Worst Cooks, what is the first thing you try to convey to them?

AB: I have a little saying: Food is like a dog. It smells fear. If you’re nervous while you’re cooking, you’re food knows it and reacts. To become a confident cook you just need to practice and do it. If you don’t know how to do something, go do some research. Read your recipe before you start and follow it. Make sure you have all your ingredients and do your prep work before you cook. Get all your onions and garlic out. Clean as you go. Have a glass of wine. Cook with your family and friends. Then the process becomes fun.

Photo courtesy of The Food Network

EDGE: And healthier, too.

AB: Absolutely. Cooking at home is so much better for you. Fast food, or anything that comes in a bag loaded with salt, it’s just bad for you. Cook from scratch with fresh meat and fresh vegetables. People watch my show and comment on the amount of salt that I use. But the amount salt I use is nothing compared to what you get when buy food in a bag.

EDGE: Does it irritate you when a “confident” cook is overconfident about his or her actual skill?

AB: I like it when anybody tries. So whether people are really good cooks or just think of themselves as really good cooks, it’s all good. There’s nothing bad about that.

EDGE: How does a good cook become an even better one?

AB: I know a lot of people might think it’s daunting, but that’s because they just haven’t taken the time to learn how to do it. It really isn’t that hard. Once you spend your time and focus on something, it really isn’t that hard.

EDGE: So what makes a legitimately good cook?

AB: That’s very subjective. I always say, “You’re the chef of your own kitchen. If you like what’s going on and you like what you make, then you’re a good cook.”

EDGE: Really? What about the contestants on America’s Worst Cooks?

AB: Ah, but then they’re in my kitchen. And yes, I’ve seen some pretty horrendous things on Worst Cooks.

EDGE: What was your own personal Worst Cooks moment?

AB: One of the worst things I ever did was trying to do a persimmon sauce with persimmons that were not ripe. Persimmons are one of those things that if they are not ripe then they’re just terrible. I was simmering some persimmons around in some chicken stock and they had this crazy reaction. They turned this whitewashed gray color. Of course, it was right before service was starting and I had it on the menu and it was just a disaster. It was gross. I had to change the whole menu. It was very stressful, but now I look back on it and just laugh.

In the television and publishing industries, you often hear the expression, “It’s a numbers game.” Perhaps that explains how DANICA McKELLAR found success in both. As Winnie Cooper on The Wonder Years, she captured the hearts and minds of a generation of viewers, and had one of the most-recognized faces in America. More recently, McKellar has connected with an entirely new generation of young people—this time as an author whose captivating and empowering books on math have made the New York Times Best Seller List. In 2010, McKellar turned her attention toward multiplication, as she welcomed her first child into the world. EDGE Assignments Editor Zack Burgess caught Danica at home in California between books and, it turns out, between feedings.

EDGE: You are a new mom, a working actress and a best-selling author. Are your math skills finally being tested when it comes to dividing your time?

DM: (Laughing) I’m not sure if the skill that’s being tested now has ever been in a category of my life before: Sleep Deprivation. There’s not a lot of math that has come into being a mother yet, but I’m sure that there will be. One other thing, I’m breastfeeding— so there is no formula, no bottles, no calculation of how many ounces and how often. There’s just breastfeeding on demand, the most non-mathematical way to go.

EDGE: There are a lot of interesting ways to go with the math degree you earned at UCLA. What were some of the options you considered?

DM: I actually considered very strongly becoming a professor of mathematics. But I missed acting. I missed entertainment. So for me to be able to write entertaining math books, to combine the two things that I love, is perfect.

EDGE: How did the math books come about?

DM: After I graduated, I went back to acting. I was on The West Wing and doing some other things. Because I missed math and didn’t want to abandon it, I started a math advice column in which I answered people’s math questions. After I finished The West Wing, there was an article about me in the Science section of The New York Times. From that article came an offer to write a math book. I realized that I had been preparing to write this book for a long time without knowing it—first, by being a math major and, second, by writing the column.

EDGE: Your first book, Math Doesn’t Suck, was written with teenage girls in mind. You actually spoke before Congress about the importance of women in mathematics.

DM: Yes, and that’s when I knew the kind of math book I wanted to write. The middle school years are the most crucial for girls and math. It’s a time when they decide they’re not good at math because of social pressures and stereotypes. It’s a confidence issue. Middle school is a time in a girl’s life when she starts asking herself questions like, Who am I? It’s a vulnerable time in terms of self-image.

EDGE: That was the first of three titles. Next came Kiss My Math and Hot X: Algebra Exposed.

DM: I had no Idea I was going to be writing more than one book. I thought the first wasn’t going to do well; I just wanted to help some people. So for it to take off the way that it did was crazy. To be named ABC’s “Person of the Week” and to have two books become New York Times best sellers, it was amazing.

EDGE: What distinguishes the approach of your books from, say, the type of teaching students would receive in a classroom environment?

DM: It’s completely different. First, the math books look like teen magazines and the tone is extremely conversational. It’s like we’re getting together, girl-to-girl. I tell funny stories and make little analogies to help them remember things. The books work for boys, too. I get letters from boys who say, “Hey, the books are kind of girlie, but now I know how to solve for X, so thanks.”

EDGE: How crucial is the role of the teacher in terms of fostering a love of math rather than a fear of math?

DM: The way the math is presented makes all the difference. If a teacher in any subject is fun and friendly, that’s how the material is going to appear. If you have a teacher who doesn’t like math and was just thrown into that position— which happens all of the time, because it’s not the most popular subject—then you end up with kids who are confused and scared. When I was in seventh grade I had that experience. We asked questions and didn’t get good answers. I thought it was me, that I was stupid. But another teacher came in midway through the year. She was fun, friendly and just exceptional. The vibe was so different. I started to understand the math and, as I relaxed more, things made sense. That showed me just how much presentation matters. When I write the books I keep that in mind.

EDGE: Do you imagine you’re writing for yourself at that age?

DM: I do. I try to bring math into that world. I have all my journals from that time, so what I do is read sections to give me perspective of who I am writing for. I can look back and say, “I remember what that felt like.” So I talk about issues that girls are already thinking about, like popularity. I weave the math into their lives so that they can remember the math concept based on these fun stories and topics. That’s what I would have wanted at that age.

EDGE: What is the message beyond the math you try to get through?

DM: Girls are seeing negative stereotypes and getting a message from every conceivable media source—especially reality TV—that it’s okay to be slutty and ditzy in order to be attractive. This message keeps getting through again and again, and it’s so disturbing to me. Girls think if they’re too smart then they won’t be attractive. Or if they’re attractive that they can’t be smart. My message is that you can be anything you want to be, and the smarter and stronger you are by challenging yourself with math, the more fabulous you’ll be—and the better decisions you’ll make—in anything that you do.

EDGE: Did you get to spend much time in the classroom as a young actress?

DM: The Wonder Years started when I was in the seventh grade. The show was filmed, so any day that I actually wasn’t in a scene I went to my regular school. On average, I was on the set one or two days a week. It wasn’t until the very last season that they decided to put Winnie Cooper in way more of the episodes. My last year I was out of the classroom more than half the time. We had great tutors on the set. The producers did not skimp on that, which I am more than grateful for. In my senior year, when I was on the set all of the time, I had a dedicated calculus tutor because my class had surpassed what the regular tutor could do.

EDGE: What were the positive aspects of balancing schoolwork and acting?

DM: During The Wonder Years I learned how to compartmentalize. “Okay,” I’d say, “for these twenty minutes I’m working on this math test and for the next two hours I’m doing this emotional scene. Now I’m going to go back and finish that math test.” Having to switch gears like that really trained me to have a dual career in both entertainment and as a writer now.

EDGE: Is it fun to hear “Winnie Cooper was my first crush” or is it just creepy and annoying?

DM: It’s flattering. The show was so loved by so many people. And there are a lot worse things to be recognized for! People tell me all the time how they watched the show together as a family. Now most of the kids reading my books don’t know The Wonder Years—they know me as “That girl from the math books.” I love it! I actually like to tell stories from The Wonder Years in my books. It’s an opportunity to show how someone can lead what you think is a glamorous life and still make really smart choices. You can study and be a responsible person who is happy in life because you made smart choices.

EDGE: You went into UCLA with the ambition of being a filmmaker, and came out with a math degree. What brought that change of course?

DM: My parents were a great influence and they sent me off right, but I still went through a lot of those insecurities that you go through when you’ve been on television and you’re still recognized for one thing. You’re a kid, and you are taught that that’s who you are, and you’re like, “Wow! Is that my whole self-value, my self-worth? What else would I be valued for if I didn’t have that?” Well, in college, I discovered that math could give that to me. I felt smart, I felt capable and it had nothing to do with Hollywood. I thought, I know I was going to be a film major, but I’m going to be a math major. I like this and to heck with it—I’m going to do this. I don’t how or why this is going to help my life, but I want to do something that makes me really feel good about myself.

EDGE: The theme of this issue is Childish Things. Have you put away Winnie Cooper, or will that character always play a part in your life?

DM: The answer to both questions is Yes. Because people remember The Wonder Years, it is still a part of my life. However, I have moved on—meaning, I don’t identify with it anymore. In large part because of being a math major and writing the books, I have a new self-reference point. Something I identify with. In the halls of UCLA, where I became a calculus tutor, I went from “That girl on TV” to “That girl who helped me pass calculus.” The math really helped me leave behind the childish things and move forward.

EDGE: And as you look forward, would you say your dream job is in the entertainment industry or in the world of education?

DM: I don’t know. I love them both. It’s as if I had two kids and you asked which one I loved more? I love being able to do both. I guess if I had to choose, I would have to say writing math books. It feels like this is what I was put on this planet to do. I feel like I’m making a big difference. EDGE

What happens in Vegas stays in Vegas. Well, that is not entirely accurate. Actress RUTINA WESLEY, one of the stars of the HBO series True Blood, did not stay. The daughter of professional dancers, the Las Vegas born-and-bred Wesley took her show on the road—first to the University of Evansville as an undergrad and then to the Juilliard School in New York. Along the way, Wesley also studied at London’s Royal Academy of Dramatic Art. A plum role on Broadway in David Hare’s The Vertical Hour and the lead in the 2007 dance film How She Move earned her an audition for Alan Ball, who was casting the tricky role of Tara Thornton in True Blood. The depth she brought to the character not only won her the part, it has since made Wesley one of the most popular characters on television. EDGE Assignments Editor Zack Burgess took the actress back to Las Vegas to talk about her show business roots and inspirations, and to explore the imaginative and eclectic Rutina Look (his words, not hers). The ground rules for the interview? Only one “vampire question” allowed (our rules, not hers). Oh, the pressure! As usual, Zack saved the best for last.

EDGE: You grew up in a town that isn’t always known for its taste, but it is definitely known for its style.

RW: True.

EDGE: Yet you seem to have developed a keen sense for both. How did that happen?

RW: Being the daughter of a mother who was a professional dancer had a definite influence. My mother loves to dress and she has a great sense of style, with the feathers and colors and all. I can go in any direction, from elegant to tomboyish. I think traveling as much as I have has helped, as well.

EDGE: Does your sense of style come naturally or is it something that you have to plan and work on?

RW: A little bit of both. I’m a chameleon with my style because there are so many things I like; it’s hard for me to choose. I love to glam it up for events and wear things that I can’t in everyday life, but I also love to run around in jeans and sneakers, especially since I’m secretly a sneaker freak.

EDGE: Is there a story behind the Rutina Look?

RW: I definitely consider myself a New York girl. I just like the style of New York. There really is no story behind my look. I just think I have a good sense of what makes good and bad fashion—although I have been known to take risk with fashion from time to time.

EDGE: Who are some of the designers that you like?

RW: Jean Paul Gaultier, Cynthia Vincent, Stacey Bendet [Alice & Olivia], Versace, Tadashi—there are just too many to name. I like a variety. It’s nice to switch it up every once in a while.

EDGE: Were there actors you felt drawn to as a girl—any that you wanted to model yourself after?

RW: Of course. Angela Bassett, Viola Davis, Meryl Streep and Julia Roberts come to mind. I consider them all people who carry themselves with dignity and class, and who have mastered their craft.

EDGE: On True Blood, there is a lot of grittiness to your character, Tara, in the face of unimaginable danger and evil. Where do you reach down and pull that from?

RW: I know a few people who were forced to grow up too fast because of something that happened in their lives. I tend to draw from the stories I’ve heard from them. I’ll just take myself to these dark places and use my imagination, to picture what it would be like to grow up in a home that was abusive and volatile, try to think of how that would make me feel. I do always try to come from a place of honesty and humanity, because I don’t want it to be too over-the-top. A lot of the time, though, I can get a true sense of things from the words I’m given in the script. I’m lucky to be working with some amazing writers.

EDGE: Talk about the performing arts school you attended in Vegas. People picture Fame on the Strip. What was the reality like?

RW: Yeah, I can see how people would think that. You know what our first play was? Fame! It was a ton of fun. We were always doing something. Whether we were singing songs from Grease or performing Shakespeare, I love Shakespeare, it was definitely a wonderful experience. It prepared me for what was to come and fueled my desire and drive to become who I am today.

EDGE: What percentage of your classmates had parents who were entertainers, as you did?

RW: Not many at all. Most of the kids’ parents either worked on the Strip or had their own businesses.

EDGE: You mentioned your mother’s influence. In what ways has your father helped your career?

RW: Both of my parents prepared me for what to expect as I made my way in this business. My father was always there to say make sure you read something before you sign it, and makes sure you have a lawyer.

EDGE: Was acting your first love?

RW: I would have to say dance was my first love. But I had to choose, and acting just made more sense. With acting I can do so many things. I can even dance if I want to. I can always dance in a musical.

EDGE: After earning your theater degree at Evansville, you made the quantum leap to Juilliard. Looking back, can you identify the performances that won you a spot there?

RW: At Evansville we did a lot of Shakespeare, and we had to perform many monologues, which they knew about at Juilliard. So they made me do all of them, which is amazing when you think about it.

EDGE: Looking back, which Juilliard teachers played key roles in your development as an actress?

RW: John Stix and Richard Feldman were very influential.

EDGE: Is Juilliard harder to get in or stay in? And who were some of the teachers who were influential in your development as a performer?

RW: Both are hard! They used to have a cut rule, but they don’t anymore, which is good. That way you can really concentrate on your craft and not worry about being sent home. It was definitely challenging, but worth every minute of my time. It was fun—just an awesome experience. I met lifelong friends there. I met my husband there. It was, and has been, one of the greatest experiences of my life. Recently I was walking with a friend from high school and he reminded me that I once said that I would go to Juilliard. I didn’t remember that. He reminded me that I was living out my dream. I couldn’t help but start crying right there on the streets of New York.

EDGE: When you were cast in The Vertical Hour on Broadway, what kind of expectations did you have in terms of building a personal or professional relationship with Julianne Moore?

RW: None really. But she was nothing but exceptional to work with and be around. It was a small cast, so we really became like a family. To work with Julianne and Bill Nighy, who is a true professional, was a remarkable experience. And to work with people you admire and to have them treat you well, it was such a pleasant experience. I have nothing but positive memories of working with Julianne and being around her.

EDGE: What did you learn about the craft from her?

RW: Her work ethic was amazing. The way Julianne immersed herself in her character was a very good thing to see. She works so hard at her craft that it can’t help but rub off on you—especially if you are willing to learn. She’s a risk-taker. She’s not afraid to do different things with a character.

EDGE: In what ways did the director, Sam Mendes, have an impact on your approach to performing?

RW: He was always working to get the best out of you. He forced—and allowed—me to stretch as an actress. Which is what good directors do.

EDGE: Juilliard connections can take you in any number of directions. In your case, it led to your part on True Blood, through a classmate, Nelsan Ellis, who is now your co-star.

RW: Yes, we have known each other forever and have been good friends throughout. So it was great when he recommended me for the part. It was so natural because he knew my work and what I was capable of. When I found out I got the part I was driving out of a Starbucks parking lot. I was so excited I almost crashed the car. So I pulled over and just started screaming.

EDGE: Is it fun being a celebrity?

RW: It’s fun. Although I still have a hard time considering myself a celebrity. But in this business if you are being recognized for what you do, it’s a sign that you are doing well. And so far, it has been very good to me and I am enjoying it. I consider myself fortunate.

EDGE: Final question. Would you rather be trapped in a room with a vampire or a Hollywood agent?

RW: I would have to say a vampire. At least with a vampire, I think I’d have a chance of surviving. EDGE

Editor’s Note: Rutina Wesley was hailed in a 2008 New York Times profile for her “reedy voice and crackling energy,” as well as the subtlety she brings to the role of Tara. Wesley and her fellow True Blood cast members earned a Dramatic Ensemble nomination at the 2010 SAG Awards.

EDGE
interview
Beth Ostrosky Stern

So many questions, so little time. Model. Actress. Activist. Author. To put it mildly, BETH OSTROSKY STERN leads a very interesting life. EDGE Assignments Editor Zack Burgess managed to grab 20 solid minutes with Beth at the “tail end” of the publicity tour for her new book, Oh My Dog: How to choose, train, groom, nurture, feed and care for your new best friend (Gallery Books). Zack covered a lot of ground in his Q&A, yet he never got to the question Letterman posed to her on national television: Why Howard? Turns out she kind of answered it anyway. The spokesperson for North Shore Animal League America, Beth wouldn’t tell us how her book ends. Spoiler alert…the woman ends up taking care of the dog!

EDGE: When did you make that first connection with animals?

BOS: The day I was brought home from the hospital. When I was born, my mother and father had rescued a mutt named Suzy Dog. Right away my older brother and I were taken with her. When my brother, who is 17 months older than me, came home, Suzy Dog was placed in front of him. It was the same for me. She was the first thing I saw when I opened my eyes. We always had animals in our home. We were always rescuing animals. It’s in my blood.

EDGE: How much thought should go into preparing your home and family for an adopted pet? Some say it isn’t that different from preparing for a new child.

BOS: In some respects that’s true. You’re not bringing a human into your home, it’s an animal—let’s just make that clear. But absolutely, you have to assess your lifestyle. Do you work? Do you have a family? Do you have a yard? Do you live in the city? Do you have access to dog walkers? If you travel, do you have people to take care of your dog? All of those things should be lined up and well thought-out before an animal enters your home. I write about that very thoroughly in my book. Whether you adopt a dog or purchase one from a breeder, you have to appreciate that you are in charge of this animal for the next fifteen years. You are essentially the parent of this live being that is needy. It needs to be fed, needs to have a safe place to sleep, and needs to be taken care of.

EDGE: You also write about the importance of bonding. As a celebrity, presumably you have less time to bond with your pets than the average person. So how much time is “enough” time?

BOS: I think anyone who has an animal in his or her life is going to fall in love and make time for that addition. Being a celebrity hasn’t anything to do with it. When you have an animal, you’re committing to that animal. Yes, both my husband’s and my schedules are crazy. But that’s true of a lot of dog owners. You put in the time and make sure there is coverage for when you are not available for their needs. They are a part of your family.

EDGE: In your book you describe the Top 20 breeds and the importance of matching the personalities of dog and owner. What ever happened to the old-fashioned way of picking a dog—love at first sight?

BOS: I believe in love at first sight. Just know what you’re looking for. Assess your lifestyle, as I mentioned before. When you go into a shelter, if you have a big house with a beautiful yard or access to a park, you might want to get a bigger breed. Or if you live in a one-bedroom apartment, you might not want to get that Rottweiler or Bernese Mountain dog; you might want to go for a smaller dog. Talk to the adoption counselor, determine the right fit for your lifestyle, and then when you spend time with a dog and make eye contact and fall in love, you’re also going to know it’s the right one to bring home.

EDGE: You have been working with the North Shore Animal League for five years now. How did that relationship begin?

BOS: I was modeling in New York City and the booker at my agency asked if I would volunteer my time to model at a fashion show during their annual luncheon. I spent my day walking the runway, modeling gowns with puppies from the North Shore Animal League. I didn’t leave the runway until every animal was adopted! They put two and two together, seeing my passion for animals and realizing that I was the girlfriend of Howard Stern. They asked if I would pose for a newspaper ad for the North Shore Animal League. I said absolutely, and after I saw what they do I began to volunteer regularly. I am so passionate about their mission. It has just been the most rewarding part of my life the last five years.

EDGE: Which is how Oh My Dog came about.

BOS: Yes. People would stop me on the street and ask me questions about their dogs. I had to explain that, although I’m affiliated with animal rescue, I wasn’t an expert on dogs. So I would rush home to my computer and go online. Not only did I quickly learn that there was bogus information on the Internet, I also saw that I was getting ten different answers to every question that I would plug in. Wow! I didn’t know which answer to give people. Then I realized I had such amazing experts at my fingertips. I’m friends with Oprah’s trainer Tamar Geller. I know one of the groomers that was on Groomer Has It. I know these amazing people at the North Shore Animal League. What if I gather all those questions that people have asked me over the years—come up with even more questions—and act as the “host” of a guide filled with their expertise? Oh My Dog ended up being over 500 pages.

EDGE: As a writer, I know one of the hardest things to do is to ask your spouse to read something you’ve written. It’s probably one of the reasons I have an ex-wife. What was that experience like for you?

BOS: I didn’t actually let Howard read the book until it was finished. He knew what chapter I was working on or what outline or interview I was working on, because it took up so much of my time—a year-and-a-half actually. Howard was a loving husband. He supported me and encouraged me every step of the way. I couldn’t have been luckier. I guess I get props for not making him read every page.

EDGE: Did being married to a public figure help or hinder you as the book project moved along?

BOS: I don’t think it made a difference at all.

EDGE: Who could you have not written this book without?

BOS: My dog, Bianca. She was my inspiration. She was beside me, at my side, the entire time that I was working on this project. She was my best friend. She kept me going and drooled on the pages as I was proofing them.

EDGE: The English majors of the world need to know—did all that reading and writing in school pay off when you authored your first book?

BOS: Absolutely. But you know what has really helped me? I’m so grateful that, in high school, we had to take a typing course. I don’t think they offer that anymore. Being able to type very quickly has been my savior. But yes, understanding sentence structure, being used to writing every day—I think that my English Lit background was definitely useful. EDGE

Editor’s Note: Beth Ostrosky Stern is one of the judges on the ABC reality series True Beauty, where contestants think they are vying to become the “face of Las Vegas” but are, in fact, being evaluated on their character. She says she was honored to be chosen as a judge of inner beauty. Zack Burgess is tearing it up as a freelance writer and editor this summer. Look for his upcoming articles in Politics and SLAM magazines. Photo by Christopher Appoldt.

New Jerseyans will argue endlessly about who prepares the finest seafood, grills the best veal chop, rolls the best sushi and spins the best pizza. One of the few things we can agree on is who makes the best wedding cakes—not just in the Garden State, but possibly in the world. BUDDY VALASTRO is the Cake Boss.

The Hoboken maestro has transformed Carlo’s Bakery from a neighborhood treasure into an international institution with a little help from cable network TLC. With two seasons under its belt, Cake Boss claims millions of viewers and is one of the most popular shows in the TLC lineup. EDGE caught up with Buddy in Los Angeles, where he was filming summer promos for the network. It’s a rare day when he’s not running the show at Carlo’s. He’s been the boss since he followed in his father’s footsteps at the age of 17.

EDGE: What is the secret to creating a great wedding cake?

BV: My success has always come from listening to the bride, to the mom, or whoever has input on the cake. I ask a lot of questions. What’s the season? What’s the theme? What’s on the menu? What type of flowers? What do the invitations look like? Can I see the wedding dress? Once I see all that, I can make decisions about the direction I want to go in. Of course, it’s got to be delicious and it’s got to be something out of the ordinary. I always have to come up with new things.

EDGE: Is it mom or daughter that does the deciding?

BV: Either the mom is in charge of the whole thing, or the daughter will say, “Shut up, it’s my wedding and we’re doing it my way.” It’s about fifty-fifty.

EDGE: What percentage of your clients come to you with a clear idea of what they want, as opposed to your having to nudge them in one direction or another?

BV: I would say sixty-five percent you’ve got to nudge. Thirty-five percent know.

EDGE: Should brides-to-be come armed with pictures of what they want?

BV: It helps to do your homework. Look through bridal magazines and surf the Internet for ideas. You might pick out a cake that only needs to have a couple of things changed on it. As a rule, the more input you give your baker, the easier it is to get a great cake. Also, do your homework on the baker. Check out their track record. Ask how they are going to deliver the cake. Do they have a refrigerated truck, or are they gonna throw it in the back of a Toyota?

EDGE: How much physics and engineering is involved in building a multi-tiered cake? Is there a height above which you can’t go?

BV: If it’s a tiered cake, no. Gravity comes into play when there is an elaborate sculpture. Sometimes that can be problematic. But a regular tiered cake is no problem. For the boarding in between we use a special type of Masonite instead of cardboard. We use plastic tubes between the tiers. Years ago, I decided I just didn’t want to “fix” cakes anymore. I devised a system, and now, structurally, my cakes are second to none. I’d rather spend a little extra money and a little extra time to know they’re going to get through the wedding okay.

EDGE: Is there a wedding cake the Cake Boss won’t do?

BV: I try not to back down from a challenge, so we don’t say no too often. However, sometimes you get a client and you know they’re going to be really difficult. Some people you aren’t going to make happy no matter what you do, so you have to be big enough to understand and accept that. In those cases, I’m likely to say I don’t have the availability to do the cake.

EDGE: Okay, is there a wedding cake you can’t do—one that’s physically impossible?

BV: Not for the Cake Boss. You say it can’t be done? Hey, that’s what we do.

EDGE: I’m picturing a cake in the shape of the bride and groom—sort of like the topper on a cake becomes the cake itself.

BV: We’ve done a lot of modeling on wedding cakes, but never anything like that. But hey, if you pay, I’ll play!

EDGE: When you start a cake, do you know exactly how it’s going to turn out?

BV: Yes. I can close my eyes and picture what it’s going to look like. Very few times does that vision fail. That comes with experience. I’ve been doing this a long time. I’ve done thousands and thousands of wedding cakes. In the beginning, when I was learning, I’d experiment with different techniques. I might have to redo the same cake ten times. Eventually, I learned how to get a cake exactly how I wanted it the first time.

EDGE: Every time a Cake Boss episode airs, thousands of people say I could do that or I want to do that. How long before someone can turn out a decent wedding cake? What’s involved in working your way up the top?

BV: I’ll tell you the truth. I’ve done it my whole life; I can do it blindfolded. That makes me a bad example, because when I do it, it looks easy. It takes at least a couple of years of doing fifty wedding cakes a week to where you feel you can do anything. To get to the caliber of cakes that I make, you’re talking five to ten years. And we do anywhere from sixty to eighty wedding cakes a week.

EDGE: Does that guarantee they’ll be great wedding cake makers?

BV: To be honest, there are people who are artistic and, conceptually, they can do it. They could take a cake that’s iced and stacked and do beautiful things with it. But they don’t know how to ice and stack it. You have to be able to do the whole thing.

EDGE: And baking’s hardly a “feel” profession.

BV: No, it’s not. Baking is a science. It’s a science.

EDGE: Is it a challenge being a Hoboken institution and a national television personality?

BV: I’ve never forgotten who I am or where I came from. I feel bad for my local patrons who can’t get in the bakery as easily now. So I’m working on that. And I feel bad for my fans, who can’t get my cakes because I work in New Jersey. I’m working on that too.

Let’s put it right out there: APRIL SEMMEL may be TV’s most unlikely domestic diva. She serves as the fulcrum of FOUR KID FRENZY, the first episode of which aired this May on the Style Network. The parent of four-year-old triplets Andrew,  Ashley and Brianna—and a precocious six-year-old named Brandon—April lives in Robbinsville, New Jersey, with her husband Joel. Their living space is overrun with toys and school projects; kitchen counters overflow with papers, sippy cups, pullups, and juice boxes. The family van is a rolling disaster area.

The Semmels were one of four families featured on a 2009 TV pilot entitled Multiple Mayhem. The series wasn’t picked up, but April and her brood were plucked from obscurity for this Style Network docu-soap. She and Joel have known each other since they were teenagers. That’s good, because the foundation they built together is tested on almost an hourly basis. EDGE caught up with April between her full-time job  running a daycare center and her other fulltime job cooking, cleaning, and wrangling four rambunctious children.

EDGE: What was your reaction when you were told that the Style Network wanted to feature you in your own show?

AS: I was shocked. I have a cluttered house. I have mounds of laundry to do. I’m lucky if I get to vacuum once a week. People ask me, “How could you admit that?” Well, it’s true!

EDGE: Did you see yourself as a TV star?

AS: My cousin did. When my family saw the Multiple Mayhem pilot, they were hysterical, and she said, “You should have your own show.” I started cracking up. Yeah right! And not long after that we got the call.

EDGE: It’s one thing to want to be on TV. It’s another to actually read and sign that release. What was it that convinced you and Joel to open up your lives to a television crew?

AS: Everybody has a private side to them, but I’m pretty much an open book. I felt like I had nothing to hide. Nobody’s perfect, and if anyone exemplifies that idea it would have to be me. Our thought was that this will give the world a look at what it’s really like. We also looked at it as creating a keepsake. We don’t record our life with a video camera, so the idea of someone following us around filming was appealing. Our kids love looking at pictures of themselves, so I figured this would be something they could look back on. So to us, this is about capturing a memory.

EDGE: How do you prepare your kids to be in a television show?

AS: You don’t. This is it, this is us, what you see is what you get. I didn’t want anything phony. We’re not those people who demand their kids act properly in public. They’re kids. That’s the beauty of children. You never know what to expect; you never know what will come out of their mouths. And my kids have no trouble acting like themselves, so you see all the tantrums and the breakdowns.

EDGE: What is one of the plusses of allowing a film crew in your home?

AS: When it’s your life, you don’t think about how interesting or inspiring your story might be. Now there are times when
we’re filming that I do think how, in just getting though the day, we might be inspiring to other people. You don’t realize
how many lives you can touch.

EDGE: What is one of the minuses?

AS: You know those dreams where you go to school and
suddenly you realize you’re naked? Sometimes you have those moments with a film crew in your home.

EDGE: Your family has multiple births on both sides, so you had to be somewhat prepared for coping with the triplets when they arrived. That being said, what were the things that surprised you?

AS: When the triplets were born, I planned to go back to work right away. I soon came to realize that, if I had gone back to work, daycare for Brendan and his three siblings would have cost us sixty-k. Who can do that? It’s impossible! So when you hear people say it doesn’t pay to work, it’s true. Sometimes it doesn’t pay to work. And I’ve always been a workaholic. So that was hard for me.

EDGE: Anything else?

AS: Yes. On the show you see that we live in a townhouse and I’m always like, “Where are they?” They’re on this floor, they’re on that floor. Now I see the beauty of a ranch house, where everything’s on one floor.

EDGE: In Multiple Mayhem, you tried to put the kids on tethers. How did that work out?

AS: The first time we used the “leashes” was Halloween. Oh my God! It was a disaster! One wanted to go to this house, another wanted to go to that house, one wanted to stop and go through the bag. It was hysterical. It was like every comic routine you could think of. Of course, now they put it on themselves, and say, “Look I’m a puppy!”

EDGE: Do they still tend to run in four different directions when you go out?

AS: Yeah, but not as often. They’re explorers. And they’re definitely strong-willed, just like me. Now that the triplets have had a year of daycare, however, they understand rules a little better.

EDGE: Yet we see in this show that the four kids are very different.

AS: Isn’t it amazing how they all have different personalities? Brandon is very advanced and he is very independent. He can do a lot of things on his own. Sometimes we have to remind ourselves that he’s only six. Andrew is the inquisitive one. He always has to figure out how something works. He’s always taking something apart and putting it back together. Brianna is the sly one. If she has to do something she doesn’t like, she’ll pretend she’s sleeping, or that she didn’t hear you. Ashley is my little diva princess. She wants it now! What’s great on the show is watching their interactions.

EDGE: When you compare notes with parents of other triplets, how do you find that your experience differs?

AS: When you have a child already, and then you have multiples, I think it’s different. You’ve gone through your anxiety with your first child. You’re more relaxed. When I was pregnant with Brandon, I thought it would be nice to have twins—a girl and a boy—and get it over with. But once he was born I was like, “Thank God there’s just one!” It’s so much work! After that, when we had the sonogram and heard the three heartbeats, Joel and I said, “We can do this.” And we did; we got better at it. We are actually on time more often with four kids than we were when we only had one.

EDGE: What percentage of the child-rearing does Joel contribute?

AS: Raising multiples takes teamwork, but the reality is that in any parenting situation someone ends up giving more—even if it’s 51–49—on any given day. Like, when I have to work on a Saturday and Joel gets all four kids.

EDGE: How much does he age during that one day?

AS: It’s funny. We look at pictures of him from before the triplets were born and I say, “You had a lot more hair!” Even so, Joel looks at other families and just can’t understand those fathers who don’t want to be involved with their kids. He’s fully into it. Do we agree on everything? Absolutely not. Anyone who says they do is lying.

EDGE: A lot of dads draw a line in the sand and say, “I’m just not doing that.” Does that line exist in your home?

AS: I’d say that line was obliterated a long time ago. I don’t think we could survive with that line.

EDGE: What has your experience with fame taught you?

AS: That it’s fleeting. In this economy, we’ve seen people who seemed to have it all lose everything. Being true to yourself, doing what you like to do—that’s the richest reward you can have.

EDGE: Moms will be riveted by Four Kid Frenzy. The question is, what can husbands learn from watching this show?

AS: The importance of teamwork. And also keeping the big picture in mind. Find a way to work with your wife, find balance in your life, and never ever lose sight of what you’re working towards.

In 1974, when Alice Waters’s Chez Panisse was a toddler, a young chef named DENNIS FOY opened a restaurant some 3,000 miles from the mecca in Berkeley, California that was setting a new standard for dining in America. Located in Meyersville— thought of in those days as west of nowhere—the Tarragon Tree drew people curious about a way of cooking that was ingredient-focused, seasonal, and dependent on the nearest farmers. Technique was critical but, like Waters and her foraged-food menus, Foy couldn’t, and wouldn’t, write his bill of fare until he’d made the rounds of local farms.

Foy’s philosophy remained the same as he moved Tarragon Tree from Meyersville to Chatham, opened Les Delices in Whippany with his brother, John, and crossed the Hudson to Manhattan, where he widened his audience with Mondrian. There were other restaurants: Toto, Townsquare, casual Shore spots in Bay Head and Point Pleasant Beach, as well as EQ and Dennis Foy in New York, both in partnership
with his wife, Estella Quinones. He often shared his kitchen space, as well as his experience and passion for local fare, with novice chefs—who themselves made serious marks on American cuisine, including the top judge of “Top Chef,” Tom Colicchio, and James Beard Award winners Debbie Ponzek and Craig Shelton. Foy also kicked in his two cents as consulting chef on major restaurants in New Jersey.

Now, after heart surgery and recovery, after a successful series of gallery shows that put the chef’s paintings in the spotlight, Foy’s back full-time in New Jersey. He and Estella last fall bought and re-fashioned the former Lawrenceville Inn, christening it Dennis Foy. This year, the chef and painter added another job to his résumé: student. He’s taking classes at the University of Pennsylvania in Philadelphia. ANDREA CLURFELD caught up with him between kitchen shifts and classes

EDGE: For those who don’t know you are the granddaddy of modern American food in New Jersey, talk a bit about your early restaurants

DF: In 1974, when we opened Tarragon Tree in Meyersville, there was a farm nearby where we’d get eggs still warm. That’s what we did— go from this farm to that farm. When we moved Tarragon Tree to Chatham, we kept that focus. In 1978, I also did Les Delices with my brother. Tarragon Tree was a precursor, really, to any modern restaurant in America. Out of that, I built other restaurants that helped to change food in America. It was a great time. The people who came to the restaurants and came through the kitchens were some of the biggest names in food. Critics, chefs. A lot of menus today are written the way I started writing menus back in the 1970s, early 1980s.

EDGE: You gave Tom Colicchio, a Jersey boy, his big break.

DF: Tom was my sous chef at Mondrian. I hired him because I knew him, knew his potential. A lot was happening in those days; I was also opening Toto, in Summit. Still doing Tarragon Tree.

EDGE: And you were hiring Debbie Ponzek and Craig Shelton.

DF: Debbie Ponzek [later the Beard Award-winning chef at Montrachet in New York] did a stage at Tarragon Tree. I just
love her. She’s a great talent, a great person, a great chef. She learned everything, worked hard, and deserves every
bit of her success. Debbie will tell you I drilled her. But she learned how to run a kitchen and how to cook. Craig Shelton[former chef-owner of Ryland Inn, Whitehouse, and anotherBeard Award winner] was a gifted, talented chef. Very bright, well-educated. We all were committed to our belief systems and very devoted to doing it right. I have been very fortunate to always have had a great deal of talent around me.

EDGE: Today, the buzzwords in food are local, sustainable and organic. Does that seem old hat to you?

DF: What’s really wild is that I’m returning to my roots— to what I was doing at Tarragon Tree in 1974. Getting eggs warm from the nest. Finding berries in the woods. Having people bring us things—wild things, berries, mushrooms— because they see what we’re doing. We’ve come full circle. So that is nothing new to me. The seasonality of food always has to be second nature; it has to be a natural reaction. It’s funny to remember this now, but back then, the Frelinghuysen’s used to bring me beefsteak tomatoes from their gardens every summer. My customers just did that, back in Meyersville and Chatham.

EDGE: How are you bringing local farms to your table at Dennis Foy in Lawrenceville today?

DF: The new menu literally is designed to be farm-to-table food. We found a guy who has black honey. Great stuff. We showcase it. Right near us are three farms. Two orchards. I feel almost like I’m back in the pool I first dove into in 1974. I source a lot of my produce through Nature’s Reward, the produce market over on Bridge Avenue in Point Pleasant; I’ve worked with them for years, going back to my places in Bay Head and Point Pleasant. It’s the best. I’ll go out of my way to go there.

EDGE: Have farmers become savvier?

DF: I think they have. There are farmers with serious degrees in agriculture and animal husbandry. New Jersey has some of the top growers. I think that if people become more attuned to what’s happening, the concept of the small farm can be reinvented. You don’t need big spreads. Just the right crops. The bottom line is that the farm-to-table concept is good economy—for both sides.

EDGE: How does all this Jersey bounty influence your cooking?

DF: I buy every day. So it’s basic. Keep it simple, keep it color-coded, keep it organic. It’s like the Depression-era mothers who made the most of their gardens

EDGE: So you think this has legs, that there’s a future to local-sustainable-organic—for the home cook and for restaurants?

DF: Absolutely. Lately, I’ve been thinking a lot about how full circle this has come for me. I’m surprised, but not surprised to be realizing that everything old is new again. Look at it this way: If you have your own victory garden, you’re a step ahead. Having that food in your backyard will make you recalibrate your diet in a good way. That could be a big change. Frankly, I don’t think there’s much new that’s going to come down the road for restaurants. Gradual influences, not major changes. It’s great that so many different cultures are coming to America and adding ideas to menus

EDGE: What’s on the menu these days at Dennis Foy?

DF: I’m cooking more simply, but bringing out more flavor in my ingredients. I spent the past year recovering from
heart surgery. I ate fairly well, and I still eat well. But I’m more focused today. I’d love to have, say, two elements on a plate. Two absolutely pristine things. Sea scallops from Point Pleasant with a parsnip cream. Just a touch of a balsamic reduction. That’s it. Pristine, elegant. I’m not doing frou-frou food. I started getting ice cream, the best ice cream, from Jerry Reilly, who runs Halo Farm [in Mercer County]. I taste his ice cream and I’m totally blown away. I’ve been in New Jersey 35 years and I’m still discovering what’s here.

Editor’s Note: Dennis Foy is located at 2691 Main St., Lawrenceville. Telephone: 609. 219. 1900.

“Popular” may be one of the iconic songs that Kristin Chenoweth has made her own during a hit-filled stage and screen career, yet it falls far short of describing her standing among musical comedy connoisseurs. It is no exaggeration to say that Chenoweth is one of the most beloved performers in Broadway history. From her Tony-winning performance as Sally in You’re a Good Man, Charlie Brown to her memorable turn as the good witch Glinda in Wicked—to her portrayal of Mildred, the cranky preacher’s wife in this summer’s joyfully insane Apple TV series Schmigadoon—she has specialized in imbuing her characters with irresistible charm and explosive energy. Can you imagine Kristin Chenoweth sitting quietly on the sidelines during the COVID-19 pandemic? No…and neither could EDGE editor Mark Stewart. Fortunately, he was able to slow Kristin down long enough to chat about her busy 2021 and the just-released holiday album, Happiness Is…Christmas!

EDGE: Can you recall the moment when you were on a stage before an audience and thought, This is for me?

KC: Of course. I was about eight years old and wanted to be a ballerina. I was in a version of The Nutcracker in the Tulsa Ballet and wanted to play one of the mice, but I was too small to fit in any of the costumes. The director said he wanted me to “create” the role of the rabbit. I thought that seemed kind of sketchy. The rabbit just sat there next Clara for all of Act II. It was the second weekend, a Saturday matinee. My family was there. One of the props the sugarplum fairies dance with, a large vine, fell center-stage. It was a pretty big prop. That’s very dangerous for theater and especially for ballerinas. I thought, What would a bunny do? How would it act? So I hopped out, put it in my mouth and hopped back. The audience went crazy. I thought, Hey…I like this feeling! That’s when the bug bit me.

EDGE: Did your parents indulge this desire?

KC: You know, they did. We lived in Broken Arrow, Oklahoma and the nearest town that had anything was Tulsa. My parents were very gracious. They allowed me to take piano lessons at Tulsa University and I studied ballet in Tulsa, as well, where I became a member of the Tulsa Ballet junior dance company. And I sang in church. The first time I sang in church I was little, too, and thought Hey, I like this singing stuff, too. It kind of all happened at once.

EDGE: Florence Birdwell passed away earlier this year. She is someone you’ve mentioned as having played a key role early in your career.

KC: Thanks for asking about her. We had her memorial this October. The only way I know how to describe her is that she was a force—in terms of emotion and technique and knowing how to handle each student in a different way. I was really hard on myself, so I didn’t need somebody else being hard on me. She knew when to be hard on her students and when not to be. Yes, she taught me vocally and technically, but she’s really the one that ingrained in my mind the idea of If you don’t mean what you’re singing, don’t sing it. I still hear her in my head today. And now that’s what I tell my students, at Broadway Boot Camp and other places: “If you don’t mean it, don’t sing it.”

EDGE: I’m thinking of the bunny story in Tulsa and about the idea of creating a role. In the 1999 Broadway revival of You’re A Good Man, Charlie Brown, you played Sally. I saw the original and she wasn’t in it. It must have been an interesting opportunity to create a role that didn’t previously exist. Who in the world knew that Charlie Brown’s little sister would be a show-stopper?

KC: Certainly not me! I remember Michael Mayer saying, “I have a surprise for you but I can’t tell you yet.” I had another offer at the time in Annie Get Your Gun with Bernadette Peters. He said, “Trust me, you’re gonna want to do this.”

EDGE: Why couldn’t he tell you?

KC: Because Charles Schulz was still thinking about whether he wanted to give his permission to [add the Sally character]. Somehow, I knew in my heart I wanted to be in Charlie Brown, I just didn’t know why. I followed my gut and took the job. The first day of rehearsal, we were all asked to sit in chairs, in front of the costumes of the characters we would play. When I got to my chair I saw it was all Sally stuff. I thought, Oh my gosh! I get to create this part! It’s rare that a director trusts someone to do that. And obviously, it was the right decision for me and one of the most fun times in my life.

EDGE: Thinking about Wicked (left) and some of the wonderful roles that followed, do you look back at that decision as a game-changing moment for you?

KC: I look back and think of Michael Mayer’s genius of having the idea and how lucky it was that Charles Schulz said yes to Sally. And what a good idea it was to let us play with all of the different sketches when we were out of town to see which ones really worked, and which didn’t, in front of an audience. And finally, the genius of Andrew Lipa to come to me with a song, “My New Philosophy,” which was so character-driven. It was a great experience, but also one I can never repeat because my life changed overnight. I was lucky to be with my Charlie Brown family, and they with me—there were only six of us—because we were together.

EDGE: Do you still have to audition for roles?

KC: Sometimes I have to audition. Mostly for Broadway I don’t. To be honest, we look for jobs that are “me” or they come to me and say this is a “Kristin part.”

EDGE: How do you know you’re good to go with a role?

KC: If I don’t want to see anyone else playing it, then I know that’s my part. I’ve got to have fun and love the person—even if she’s a nightmare, I’ve got to figure out ways to love her. Sometimes I like to turn a part on its ear and not do what people expect. I think I’ve been successful in that respect; I’ve found my niche.

EDGE: Which, I guess, is how you make it look easy.

KC: That’s a very big compliment and I appreciate it.

EDGE: What’s the most difficult thing you’ve had to do professionally?

KC: Schmigadoon was pretty hard because we had to do an 18-page song in one take, with no cuts. In other words, no mistakes. That was a little scary.

EDGE: Do you have a favorite song, one you never tire of singing?

KC: There’s a song, “Til There Was You,” that Meredith Wilson wrote in the movie of The Music Man, which I did years ago with Matthew Broderick. I never get tired of singing that song. I just think it’s one of the most perfect songs.

EDGE: You’ve played opposite some very impressive men and women on Broadway, people like Andy Karl and Peter Gallagher, whom most people know. What I’m wondering is have you ever worked with someone you knew little or nothing about, and they just blew you away in that first rehearsal?

KC: Everybody blows me away [laughs]. I think about the Andy Karls and the Peter Gallaghers and, goodness, going back in time to Brian D’Arcy James…I’ve just been so lucky. With my leading women. With my leading men. I’m grateful because they have all been very giving. In Promises, Promises I was in a role that no one wanted to see me play because it was more on the dramatic side. Sean Hayes, who is one of my closest friends, held my hand and was like I got you. He’ll always have a special place there for me.

EDGE: Tell me about your upcoming Christmas album. I’ve always wondered, how does an artist pick the songs that “make the cut” and belong together? Are they personal favorites? Are they ones that you feel suit your style? To me it seems like a real hand-wringing decision.

KC: Well said. It can be a hand-wringing experience. I really wanted this album to have a particular feel, like it’s in my DNA, which is why I recorded it in Nashville—not Country, but something with intimacy. I chose each song very carefully. We do a version of “Happiness” from You’re a Good Man, Charlie Brown where we were given permission to rewrite the words about Christmas. That was a big one because of the history for me. I love Kaye Starr so “Man with a Bag” had to be on there. I love Karen Carpenter, so “Merry Christmas, Darling” had to be on there, too. There’s a song that Barbra Streisand sang a long time ago called “Christmas Lullaby” written by Ann Hanson Callaway that had a huge orchestration to it, but I wanted it to be smaller in nature. A wonderful guitarist out of Nashville named Brian Sutton played it so beautifully. There’s a song that Stephen Schwartz wrote called “We Are Light” and as I thought about the feel and the tone of the record, the idea of “light”—of light at the end of the tunnel, of we’re getting there—kept coming up. It’s a Chanukkah song, but it’s so hopeful that I really wanted to have that on there, too, because a lot of people don’t feel that now. The way we end the record is with Peggy Lee’s “My Dear Acquaintance.” With all we’ve been forced to deal with the past couple of years with the pandemic, that song to me is a real standout because it’s like, “here’s to life” in a way. There’s a lot of happiness on this album.

EDGE: You mentioned Karen Carpenter. To my mind, no one made a happy song sound sadder than Karen Carpenter. How do you make her song your own?

KC: First of all, you quit listening to her [laughs] because I will imitate her. But you can’t help take some of the things she did so beautifully and pay homage to her. Karen had a deep voice, with a kind of cry in her voice, you feel her heart and her pain. On my version you get more of I’ll see you soon baby. I’ll be coming your way and it’ll be amazing. But yeah, you’ll hear a little Karen in there because she is the O.G., the original source.

EDGE: You mentioned Schmigadoon. I look at that cast and see a Who’s Who of scene-stealing performers. How did anyone keep a straight face?

KC: We didn’t [laughs]. We had a lot of do-overs.

EDGE: Usually there’s someone in a cast that really gets to you, and it’s not always who the public might think it is.

KC: Alan Cumming was hard because he’s so silly. And Fred Armisen. They just make me laugh. It’s who they are.

EDGE: Did they give you a “Mothers Against the Future” tee shirt when you were done?

KC: No, but I want one! Don’t you think we should have had them printed?

EDGE: That’s the first thing I thought of.

KC: That actually was the first line I read in the script and I thought, Oh, this is epic. You know, these are all my friends in Schmigadoon, people I’ve known forever and just love.

EDGE: Also, I can’t think of anyone other than Martin Short playing the leprechaun. I don’t think Martin could, either.

KC: I know [laughs]. He’s so perfect in every way.

EDGE: And he’s having a little too much fun, I think.

KC: I agree. EDGE

Editor’s Note: Kristin Chenoweth’s new album, Happiness is…Christmas!, was released in October. National Champions hits theaters November 24th. Schmigadoon is available on Apple TV. For more information on Broadway Bootcamp visit kcbbc.com. For more information on Kristin’s Arts & Education Fund, visit officialkristinchenoweth.com.

We all know someone who is good at everything they try. They instinctively find their groove, never seem to over-reach and succeed again and again where others fail. It makes you a little crazy, but how can you not love their talent and courage? Aisha Tyler has pulled off “good at everything” in the toughest of all spaces—the entertainment business. She has been brilliant as a standup comic, as an Emmy-winning host of The Talk and ringleader of Who’s Line Is It Anyway?, as a star of the beloved animated series Archer, as an unforgettable character on Friends and as a director on the Walking Dead franchise. The next challenge? Her own Brooklyn-based cocktail brand. The challenge for Gerry Strauss was a bit more daunting: slowing Aisha down long enough to cover the vast and ever-expanding landscape of her remarkable career. Is it any surprise that these pages could not contain her?

EDGE: You’ve taken a lot of chances and explored several different directions in your career. This being our “Best Case Scenario” issue, I have to ask: Is there anything that you can think of that you were advised not to do, but did anyway?

AT: I don’t know that I was ever told not to do anything, but I did get a lot of discouraging feedback when I started doing stand-up. I got a lot of This is never going to work. You’re never going to make it anywhere. I’m a grownup and my comedy was always grownup comedy, so my show was always kind of edgy. I had this club owner tell me that I should stop cursing, that my material was too dirty. Then the next guy after me was talking about a little person in the most vulgar fashion and I remember telling this guy he’s a hypocrite. He said, “You’re just a little girl trying to run with the big boys and it’s not going to work.” Later I saw him and he came up to me and he was like, “I always knew you were going—” and I was like, “No, no, you didn’t. No. No, you don’t get to revise history now, buddy. You said I was going to fail.” I’m not a petty person and I don’t hold grudges, but every kid just thinks, Someday I’m going to show them! So I did really enjoy cutting him off.

EDGE: Was standup always a dream of yours?

AT: I wish it was that intentional. As a kid, watching Eddie Murphy’s Raw or Richard Pryor’s Live on the Sunset Strip, I felt like those were magical people that had fallen out of the sky. There was no direct bright line between that and like, Oh, I could do that for a living. I had discovered standup in college but it wasn’t until I got out of school that I realized that comedy could be a vocation. My minor was Environmental Studies and I wanted to work in environmental policy, so I got a job at a conservation group called the Trust for Public Land. I was doing marketing and PR for them. I think the idea was just to take a year or two to work and then go to law school and become an environmental lawyer. In the interim, I realized that working in an office was just highly problematic for me. So I started doing standup, which was obviously the hardest of hard right turns. I was watching a lot of standup on TV and thinking there were some really mediocre comics out there…and I could be mediocre, too. So I tried it once to see if I liked it. I think any standup will tell you that that first set is typically pretty electrifying. Either you fall in love with it right away, or it’s not for you. But just doing it once—and doing it poorly, I might add—I was like, Oh…this is the gig for me!

EDGE: At that point, did success in comedy seem like it would be enough?

AT: Oh, yeah. And it’s not that I’m not an ambitious person. But I found out I could do standup and be able to pay my bills and I thought that might be enough. I was really just focused on trying to be the best standup comic I could be. It was a very mid-level “best-case scenario”—an eh-case scenario, I think [laughs]. It all turned out way better than I envisioned.

EDGE: As you branched out, did you prefer to play fictional characters or find projects, like hosting, where you could be you?

AT: Oh, that’s a good question. Being myself, that’s an easy job, right? For some people, hosting and doing standup live on stage is really discomforting, however I found hosting is a very easy thing for me to do and I quite enjoy it. But I probably preferred acting because I typically like to lean into the stuff that I find most challenging and most difficult. But the host stuff was cake, you know what I mean? Even when I kind of started doing comedy and then I started getting up into drama, I really gravitated towards doing drama. I wanted to do something where I knew I was going to have to stretch myself because I typically prefer the thing at which I’m least proficient.

EDGE: Is that true of directing? I’m thinking of your doing Fear the Walking Dead.

AT: I think so. I find directing to be the most challenging and, on some days, the most frightening—so definitely the most interesting. To go into a space where you’re good at what you do, but you know you have a lot to learn, you know you’re going to be growing and you’re going to constantly be expanding your skillset and your experiences long-term. So yes, it’s definitely true of directing.

EDGE: You won a Daytime Emmy during your time on CBS’s The Talk. What were the biggest challenges of occupying that chair every day?

AT: I don’t mean to be glib, but right from the beginning it was a very easy show to do. As a standup, I was accustomed to speaking contemporaneously and off-the-cuff and being myself. It was a network show and it was for daytime, so sometimes we had to be circumspective and kind of shave off the edges. But as the show became more popular, we were able to speak more freely. I think that’s why it did well when I was there. There was a nice frankness, a kind of emotional openness to the show. It was driven by personal experience rather than politics. I’m a pretty private person, so I did struggle to figure out what about my personal life I wanted to share and what I wanted to keep private. That was always a challenge—to want to be present and forthcoming, to be supportive of the other women, but also wanting to keep some of your life’s details to yourself. I think that’s a normal human inclination, that not everything has to be out there in the open.

EDGE: In regard to your acting résumé, I think your stint as Charlie, Ross Geller’s love interest, is something that will live forever as part of the Friends legacy. Were you nervous inserting yourself into the Ross-and-Rachel dynamic?

AT: No, and I’m sure it was because there was no social media then. I really just didn’t want to suck. I was just trying not to be bad at my job. I will say that there might’ve been a general backlash against anybody who came between Ross and Rachel, but I never had anything but positive feedback, to this day. Charlie Wheeler ended up being a fan favorite. I get 10-year-olds that watch the show now that love her. I think the way that her relationship with Joey and Ross was framed and how it happened, it was all very playful. So yeah, that paleontologist lady, people tended to like her quite a bit. But I was nervous for sure, because it was the best and most popular show on television at the time. It was the peak expression of that kind of comedy and, I think, has held up as a pillar of four-camera comedy.

EDGE: There’s a story out there that you got into acting because of Sam Rockwell—

AT: It is entirely true. We went to the same high school and I thought he was super cute. He went into an improv class and I followed him in there and stayed in there. I mean, not like a stalker [laughs]. I went and hung out with him in improv class and out of school. Luckily, we’re still very close friends to this day, so it all went well.

EDGE: So what’s something about Whose Line Is It Anyway? that most people wouldn’t know?

AT: I’ve said a million times that the guys absolutely don’t know what they’re going to be improvising about until I tell them. There are no cheat-sheets or advanced stuff. So what you wouldn’t know—unless you are in the studio for the taping—is that lots of things don’t go well. They flub a lot. They make mistakes. There’s a lot of stuff that’s not safe for television—a lot of cursing—but it’s always a really playful night. It’s all hilarious. Sometimes it’s perfect and sometimes it’s a mess. But they’re so good at what they do that the whole night is really joyful. Another thing people don’t know is that, in my first season on the show, the sound guy kept complaining because I was laughing too loud. He was like, “Aisha, you need to not enjoy this as much.” I was like, That’s an impossibility.

EDGE: Tell me something that you haven’t done but would like to try.

AT: Two years ago a friend of mine gave me a skydive as a Christmas present. They did that knowing that I was going to be really angry about it, because I do not want to jump out of a plane—but the fact that they challenged me to jump out of a plane means now, of course, I have to show them and jump out of a plane [laughs]. I’m terrified. I’m legitimately terrified to do it. So now there’s just this battle between my ego and my terrified inner child over whether I’m going to ever jump out of a plane. This person knows that I have a little bit of a soft spot and they can just goad me and shame me into doing it, because I won’t be like, You can’t tell me what I’m not going to do. So the skydive is looming on the horizon and giving me palpitations, but we’ll see.

EDGE: Don’t forget a GoPro camera. This can be your next film project.

AT: Or a diaper—I’m not worried about the camera—a large adult diaper. EDGE

The following is bonus web only content:

EDGE: One of your more recent projects is your line of ready-to-drink cocktails, Courage+Stone. Where did you come up with the idea to launch this brand?

AT: I’m a cocktail lover… that’s the easy answer. I would travel for work all the time and I’d go to these great bars—a lot of them in New York—and I would get home and want to have a great drink, but all I would have is light beer in my pantry. I started buying the stuff that you needed to make great cocktails. I quickly was like, This is a lot of work. [laughs] As the kids used to say, “Ain’t nobody got time for that.” So I started making them in batches and keeping them in my fridge so I could come home late on a weeknight when I was tired and just have one great drink without having to make any effort. Then I literally was like, Oh, it would be really great if you could buy these in a store—because most people would probably want the same thing.

EDGE: You began working on this in 2014. What needed to happen to make this brand what you wanted it to be?

AT: It starts with the quality of the base spirit. We really wanted to make sure that we had a real distillery partner so it wasn’t random whiskey in the cocktails or random gin in the cocktails. We looked really hard to find a great distillery partner, people who had great taste. We wanted to know who was touching our liquid and that there was a real team behind it. The whiskey base is three-year-old rye whiskey from a real distillery, made by hand, as are our cocktails. I have photos of me stirring the first batch with a paddle. It’s a real product. Then, everything else had to be premium quality, because I wanted to give people a bar-level experience at home—no corn syrup, no stabilizers, no artificial colors, no garbage of any kind of in these cocktails. From the very beginning, my touchstone was that it had to be a natural product. I was a real stickler for what went into the drink. I wanted it to be something that I would drink, something that my bartender friends would be happy to serve. So yeah, it was really an exact thing about what I wanted and making sure that it was something I was willing to put my name on.

EDGE: Why did you go to Brooklyn to create this product?

AT: There are just a lot of really great craft distilleries in Brooklyn. We took a lot of meetings in Brooklyn. It’s a place that has this kind of maker culture there, right? People are doing things in Brooklyn. It’s not a corporate-type place. You walk around, and there’s just all these great little businesses doing super-cool stuff. So when we were looking at small batch distillers there was a high concentration of people that were performing at a very high level in Brooklyn. It made sense for us as a brand. For me, I really want people to know that when we say handcrafted that’s a true story.

EDGE: I understand that meditation was a big part of your family’s life growing up. Is that a practice you continue?

AT:  I really wish that it was. Most people’s moms complain that they don’t call home enough or that they’re not eating well. My mother just complains that I don’t meditate, especially when work is kind of intense. I should meditate, but I don’t. I feel like I have no time to do anything, so sitting still for several moments and focusing on my breathing is way at the bottom of the list. But I should [laughs].

EDGE: Do you think that finding ways to bring your passions into your work has led to a unique brand of success for you?

AT: That’s a really good question and yes, I think so. There’s that greeting card adage about, “Do what you love and the rest will follow” or “Do what you love and you’ll never have to work a day in your life.” Yes, I do think that passion for the things that I’m curious about has been what has driven me, pushed me forward and enabled me. Honestly, at times when things weren’t going the way that I would have hoped or envisioned, they were still the best-case scenario, because I was excited about what I was doing, especially as a filmmaker. The reason I’m a director is because I decided I wanted to direct—and I knew no one was going to give me a break out of the blue. I started making films on my own, making short films. I called all my friends who were in a band and offered to make them a free music video if they let me hang out with them for a few days. I just started doing that and I never felt like that was work. I felt like it was an investment in myself and in my creativity. I was building a body of work on my own without waiting for someone to give me permission. I didn’t hire a crew. I just went and rented a camera for a day and shot it myself, learned how to cut it myself, did everything myself. Then as a result, my understanding of filmmaking and the craft of filmmaking was deepened just by me kind of investing in my own growth. So yeah. I have other friends that want to break into certain areas and they’re like, “Well, I got to wait for someone to give me a job.” I’m like, You absolutely don’t! You can just get in there and do it yourself!

The ability to light up a screen is not the exclusive province of A-List, big-box-office mega-stars. Some actors have learned to wield that quality with understated strength and subtlety—and parlayed that power into long, distinguished entertainment careers. If you’re wondering why Elizabeth Perkins is so relentlessly good in everything she does, you may have just answered your own question. For three-plus decades she has turned in luminous performances in heart-tugging dramas and smart comedies that include About Last Night, Big, Avalon, The Doctor, He Said She Said, The Ring Two, 28 Days and Must Love Dogs—as well as unforgettable TV series like Weeds, Sharp Objects, How to Live with Your Parents and Truth Be Told. She also played Nemo’s mom in Finding Nemo. Perkins has inhabited screen characters that run the gamut from dark to daring to devilishly funny. But as she tells Gerry Strauss, in her current FOX series, The Moodys, she is playing a version of someone fans have never seen before: herself.

EDGE: In the FOX series The Moodys, you play Ann Moody, an alcohol counselor. There’s a personal story behind that.

EP: I asked them to let my character go back to school and become a counselor because of what my mother had done. She was a pianist and then she became an alcohol rehabilitation counselor. She had played in a series of bars and was in that scene, became a full-blown alcoholic throughout most of my childhood, and then got sober when I was 18 or 19 years old. She completely turned her life around, went back to school, got her degree and became a counselor. Sobriety has been a big part of my life, and so is recognizing that and honoring that in people and in my family, and in myself. It was a real inspiration for my character on this show for that very reason.

EDGE: Your mom was an entertainer at heart. Did that influence you early on?

EP: Oh, 100 percent. My mother used to play the piano and I would stand next to her and sing. She always encouraged me to do the things that she couldn’t—or wouldn’t, or didn’t—and was really an impetus for me to get on stage. She introduced me to local theater in our small town in Massachusetts and was always my inspiration. She would say to me, “I wish that I had done that when I was your age.” Because she was a natural performer…and the funniest person I’ve ever known in my life. She was sarcastic and raucous and bawdy. She was just no-holds-barred, with a great deal of confidence. I think that my sense of humor comes directly from her mouth. For sure.

EDGE: You began your career as a stage actress, correct?

EP: Oh, absolutely. I went to drama school in Chicago at the Goodman School of Drama, which now has been incorporated into DePaul University. But when I went there, it was a conservatory, and I think we had a graduating class of 12 people. When you’re in that kind of training program, specifically back then, they weren’t training you for television and film. We didn’t have on-camera classes or how-to TV audition classes. It was primarily performing on the stage. I had really not thought about film and television. When you come from a conservatory mindset like that, it’s all about the theater. I was lucky enough—and I’ll use that word lucky, because luck does play a huge part in any actor’s life—to be seen. I went to New York solely to do theater and was cast on Broadway. That was 100 percent luck and being at the right place at the right time. I was proud of myself working on Broadway, being young in my twenties, in New York.

EDGE: Then came About Last Night (above), with Rob Lowe, Demi Moore and Jim Belushi…

EP: Again, I just lucked into that first film audition, which I think it was 1985. It had never occurred to me to do film and television, and I was perfectly fine without it. I just fell into it. When I did About Last Night, I’d never been in front of a camera before. I’d never done a commercial or a day part. I’d never even done a student film before, so I sort of faked my way through it. I remember arriving on the set and they were using terms that I’d never heard: your mark, the POV, the cheap shot, over-the-shoulder. I just was like, “I’m going to just fake it till I make it.”

EDGE: And you did. You were listed as one of the “12 Most Promising New Actors of 1986” in Screen World, which was a huge deal back in the pre-Internet and pre-IMDB days. Did you feel some pressure at that point to keep the momentum going?

EP: I felt a little overwhelmed. The film got a lot of attention and the way I looked at it was like, “Well, that’s intense.” But it resulted in me getting more work. I had been living in New York in my twenties and everything was expensive, and I wasn’t making any money. It just translated into, “Oh, I can buy my mom a car!” That’s when I started buying my mom her cars, and I bought her a new car like every five years for the rest of my life, until she passed away a few years ago. Then I remember thinking, “I can buy my mom a house…I can do all these things. I can now help take care of my mom the way she always took care of me.” So it was a blessing. I was 26, but I think I had a pretty good head on my shoulders about it, and I knew these things come and go so quickly. It’s like that great line in Notting Hill: “Today’s newspapers are going to line tomorrow’s canary cage.”

EDGE: Not everyone in that situation would respond that way.

EP: If you’re in it for a certain amount of notoriety, yeah, that could sway how you respond to that attention. A lot of actors who think, Oh, I’m the hottest thing right now—and they actually think that’s going to last—just aren’t really living in reality. Hype is so fleeting, and all you can really do is focus on the work. I’m from a really small town in Western Massachusetts, so all of this was just great [laughs]. I’ll take whatever I can get! I remember when I was making The Flintstones with Rosie O’Donnell, she was hanging out with Madonna at the time and she said, “You could just be so much more famous than you are. You should come out with me and Madonna… you could be super famous. Your career could be so much better than it is right now.” And I remember thinking to myself, I like my career right now. [laughs] I work all the time, but I’m not one of those people who’s surrounded by paparazzi. I work with great people. I make good money. I’ve got four children. I support myself. I’ve supported my parents. Yeah, I guess you could be wanting to be in that level of superstardom…or you can just be really grateful for what’s in front of you. I think that’s sustained me. I’ve been doing this for over 35 years, and I’m good.

EDGE: One of your earliest film roles was opposite Tom Hanks in Big. In 1988, it was an innocent family-friendly fantasy film. Do you think the relationship between your adult character and Josh, who was still a 12-year-old boy, would be done the same way?

EP: Oh, I get questions about this all the time, because we have sex in the movie. He kisses me and touches my breasts, and it was a whole thing. Yeah…we wouldn’t shoot that movie like that today, 100 percent. I’m not sure I feel strange about it in hindsight. That scene was primarily to set up the joke of the next day at the office, when the elevator opens and he walks out like, Oh, I’m a completely changed human being. It in no way indicated any kind of untoward, Oh, she’s having sex with a minor. Based on how we have grown for the good as a society, that scene would probably not be acceptable, period, so I own that. And I’m sure Penny [Marshall, who directed the film], before she passed, would own that as well.

EDGE: Do you view the heightened sensitivity towards entertainment as being a change for the better?

EP: I think when change happens, societal change happens. It goes to the extremes in many different directions and then eventually it finds its home. The change that’s going on now is very necessary, but I do think we’re all still finding our footing there. In terms of certain norms that have gone on for decades, it’s a hard change for everyone, particularly people who’ve been writing or directing or creating for years. But it’s a necessary one. My daughter works in development at the Geena Davis Institute for Gender in Media and she’s my touchstone for all of it. I’m 60 years old. I’ve been doing this since I was in my early 20s. And every time I have a question, I call her and I say, “What do you think about this?” It’s all a big change for me, too. I really applaud my daughter, because she’s at the forefront of working for an institute that is dedicated to equality and inclusivity and diversity. And it’s really needed, and it’s overdue at this point.

EDGE: Is comedy something that you’ve always enjoyed digging into, or was it more of an acquired passion?

EP: Oh, I adore doing comedy. If I could do comedy all the time, I would really be in a sweet spot. Sometimes I feel like I’m always given the job I need at the moment I need it. Prior to doing The Moodys with Denis Leary, I had done all these really dark things. I did a show called Sharp Objects with Amy Adams and Patricia Clarkson. That was so dark. Then I did a show with Aaron Paul and Octavia Spencer that was just Nazis and prison and racism. And then Trump was in office and the pandemic hit, and I’m doing comedy. If you just stay in these dark pieces, you bring it home with you. I do, anyway. So I just feel blessed that I’m making a comedy in the middle of all of this stuff. I’m like, “Okay, universe, you’re giving me exactly what I need.” [laughs]. It’s great to wake up in the morning and know that you’re going to go to work and laugh—I’m so blessed to be working with Denis and Jay Baruchel, who plays our oldest son. Jay is just wicked good. He’s incredible. We’re having such a good time that none of us wants to leave.

EDGE: What specifically hooked you into The Moodys?

EP: Denis Leary. Denis and I grew up about 30 miles away from each other. Chelsea Frei, who plays our daughter, grew up another 30 miles away, and Jay Baruchel is from Montreal, which is like four hours away. So all of us really have this same sort of—I’ll use the word “wicked” because that’s New England lingo— sense of humor, and we’re all from working-class families. So, when the creators sent it to me, they said, “There’s not a lot on the page right now, but we’d love you to do this.” And I said, “Well, can I make her like me?” And they were like, “Yeah.” So they were gracious enough to let me infuse my own life into it. I feel like this is the first time that I’ve created someone who’s really based on me, a woman with older children who are still in and around the house, who’s trying to reinvent herself all the time—which happens when you go from being a mother to being an empty nester. I was able to infuse parts of my mom into it, and so it was the first time I’ve been able to have open season on a character that the creators really allowed me to make my own. At my age, it was really a little gift for me. I took it and ran with it, and I’m having a ball.

EDGE: Would the prospect of creating your own character have frightened you earlier in your career?

EP: Oh, yeah. But everything is scarier when you’re younger.

EDGE: Why does it work so well now?

EP: When you get to be a certain age, you don’t care what people think anymore. You just don’t. You’ve been around for long enough to just say, “I am who I am, and I’m proud of who I am.” I love these parts of myself, and I want to share them because I think I’m really great. I do. I love my life. I love my husband. I love my kids. I just feel like I’ve been given so many gifts. And now I’m getting to play a really great part of myself. A lot of people don’t get an opportunity like that, so I adore my creators and Denis for bringing me along on this. They’re allowing me to be nutty and obsessive and fun—a woman who maybe has too many glasses of wine, or maybe overdecorates the house at Christmas, who might be a little bit cloying at times when it comes to her children. These are all real facets of me.