‘Tovah Feldshuh in Conversation With Linda Winer’ (a LPTW, NYPL for the Performing Arts Oral History Event)
Monday evening, 6 May the New York Public Library for the Performing Arts and the League of Professional Theatre Women presented Tovah Feldshuh in Conversation With Linda Winer. The event produced by Ludovica Villar-Hauser with Sophia Romma was held at the Bruno Walter Auditorium at Lincoln Center.
Linda Winer was chief theater critic and arts columnist of Newsday (1987-2017). She has taught critical writing at Columbia University’s School of the Arts since 1992 and hosted the “Women in Theatre” series on CUNY-TV from 2002-2007. Recently (2018) she was given a special award from the League of Professional Theatre Women for her contributions to women and theater.
Tovah Feldshuh’s illustrious career spans decades. She is a six-time Emmy and Tony nominee. She has been awarded three honorary Doctorates of Humane Letters. Her prodigious career in theater has garnered her four Drama Desks, four Outer Critics Circle awards, three Dramalogues, the Obie, the Theatre World and the Helen Hayes and Lucille Lortel Awards for Best Actress. Noted Broadway performances include Yentl, Cyrano, Rodgers & Hart, Dreyfus in Rehearsal, Saraval, Lend Me a Tenor, Golda’s Balcony, Irena’s Vow and Pippin (the show stopping trapeze artist, Berthe).
Here are a few excerpts from the conversation Linda Winer held with Tovah Feldshuh who entertained the audience throughout the conversation by performing the role of her grandmother and her mother and others with heavy Bronx or European accents, while discussing her life and career. The piece has been generally edited to remove infelicities in grammar.
Linda Winer: So you’re a serious actress, with a life-time career, a cabaret star, wife, mother of two. You climbed Mt. Kilimanjaro, you hung from a trapeze without a net in Pippin. You appeared in a lot of my favorite Law and Order Episodes. You’ve appeared in Walking Dead and in lots of TV and movies. You’ve said your career reflects your personality. Which one? (audience laughter)
The greatest advantage about growing older is the wisdom and perspective it gives you about life. And it’s taken me into my 60s to recognize and deal with the general existential fear of death…or dwelling on the idea that one day I won’t be here. The most important word in a successful career is the word “yes.” So when people ask me if I can do it? If it interests me, I say, “yes.”
I’m much pickier than I used to be because time has shortened. My mother lived until over 103. I’m in the last third of my life. But nonetheless, I’m clearer about what I want to do. I see it and I grab it when it comes my way. And if it doesn’t come my way, I’ve learned from my betters to create it. Dustin Hoffman didn’t just get Tootsie, he produced Tootsie. Jane Fonda didn’t just do her workouts she couldn’t get hired because she was considered a traitor by the U.S. congress and she created the workout program because she was physically fit. I did the pregnancy workout and was most grateful that I worked out up to the day that I delivered.
That is the explanation for a lot of the work you do?
I write and collaborate with various individuals. (An example of this would be her one-woman show Tovah is LEONA!) I went into one-woman show business for a reason, not only to fulfill my dreams. One of my children didn’t learn to read and I was so involved with my career, I didn’t catch it. My beloved sister-in-law said, “This child is not reading.” My sister-in-law is a reading therapist. I said, “What are you talking about, of course this child is reading.” “No!
she said. “This child is memorizing the sounds. He’s not coding right.”
Don’t worry. The child went to Harvard. So when I didn’t catch it, I stopped doing Broadway for 13 years. When one child went to Switzerland, and the other was accepted to the college of his choice, then I went back. There’s no free lunch here. People came up to me and would say, “How are you? Where’ve you been?” There’s no understudy for a parent. Here we’re supposed to be talking about theater. But when you bring human life onto the planet, it’s your responsibility to nurture those lives.
You like great titles. I have these scribbled down and they all have your name. You were smart about branding before it became the thing.
Well people had to know what they were coming to see.
A Touch of Tovah, Tovah Out of her Mind. Tovah Crossovah! Aging is Optional.
The roles I choose, particularly the one-woman shows I construct, I love playing multiple characters. And even when I don’t write the piece, for example, William Gibson wrote Golda’s Balcony, there was still the decision to work on it. The playwright gave us permission to put in all the verbs in the present tense, so we could retain the reportage which it was and turn it into an experience which it is. And that’s why the piece has persevered. The version of the piece that we do is not published.
I’m doing The Prompter now by Wade Dooley directed by Scott Schwartz (May 28–June 16 at Bay Street Theater in Sag Harbor). When I was in my 50s I was cast as Golda who was 80. I’m in my 60s now, I am playing Irene Young in The Prompter who is 90. So if I keep going when I’m 80 or 85 I’ll probably play Methuselah.
How about your grandmother? Was she in shows.
Grandma Ada. She’s the jewel in my crown. Ada is actually a compendium of my family. It was my father who said, “Reach for the stars, you may land onto the roof. If you reach for the roof, you’ll never get off the ground.” My grandmother wanted to be an actress and she had this career in the Music Hall in London. So when she tried out, they said “Ada, show us your ankles.” She showed them her ankles. They asked, “Ada show us your knees.” She said, “Nobody sees my knees except Grandpa, and then not so often. (Tovah Feldshuh lays on a thick accent as she says these lines.)
So it’s a compilation of all my beloved forebears. They came across the waters from England in 1902. They came from England, Russia Germany Austria. I’m a real American mutt. Relating to Austria and Germany, if you say Feldshuh, it’s as familiar as Smith. When you were in Napoleonic times before we had last names, you were “Samuel, son of David.” But they needed last names for taxes. If you paid, you were Montifiore, “Mountain of Roses.” If you didn’t pay, you were named Feldshuh, “field boots.” That’s my proud name.
You were Terri Sue.
So I fell in love with a boy who was not of my tribe, not of my religion. He encouraged me to change my name. And he said what kind of a name is “Terri Sue?” You’re from the North. What else were you called? I said I was called Tovah in “Sunday School.” Actually, it was Hebrew School. I used to say “Sunday School” to fit in. I was embarrassed to say Hebrew School. By the way in Hebrew School, they give you a prayer book, it’s exhaustive, like Suzuki Judaism. In this prayer book, you can pray wherever you are in the world.
I was called Tovah in “Sunday School.” This was the 1950s. Jews were assimilating. There were no Mercedes in Scarsdale. To assimilate Jewish men men were going to Brooks Brothers to get their blazers and beige pants. These were the boys that made it, the GIs that came home from the war. They were Jewish. To get back to how I changed the assimilation name to Tovah, it was because of Michael Fairchild. May he go down for the ages. He became a photographer for National Geographic. On his encouragement, I changed my name from Terri Sue to Tovah. And I didn’t know the entire state of Israel would fall on my head. I had no sense of what would happen.
So what was the consequence?
It changed the whole landscape of my life. Juliet says what’s in a name. A rose by any other name is as sweet. Not necessarily so. A name characterizes. “Tovah” characterized me. Bobby De Niro is immediately characterized as Italian. Dustin Hoffman is something else. So a Tovah Feldshuh is a Danish name. So in Minneapolis when I worked at the Guthrie, they thought I was Danish (she imitates a Danish/Swedish accent). That was the one place in Europe that saved the Jewish community. So when I got to New York, my name, Austrian Jew, from Vienna? They said to me, “It’s a ridiculous name! You must change your name! (heavy accent). And 18 months later my name Tovah Feldshuh was on the marquee (applause).
Your parents in Scarsdale sent you to Sarah Lawrence. You were a philosophy major. You studied languages…and were/are a pianist. Did your parents think that changing your name to Tovah and becoming an actress was a mistake?
They thought being an actress was a mistake. When I told my mother I wanted to go to Julliard, my mother said, “You’re not going to a trade school.” (laughter) My older brother who is an MD, Ph.D. Dr. Dr. David Feldshuh, my mother called him Doc. My older brother went into the theater first. He went to Dartmouth and was a Reynolds scholar and was a McKnight Fellow at the Guthrie. He was the one who said, “Don’t go to law school. Why don’t you apply for a McKnight Fellowship in Acting?”
So I applied to law school, got on the wait list, got the McKnight Fellowship and went to study at Guthrie. And again, this changed my life. Sarah Lawrence was fabulous. My mother came to see Renard the Fox by Stravinsky. I think I had green hair and purple feet. She took one look at me and said, “Why didn’t you go to Vassar?” (Tovah Feldshuh imitates her mother with an accent) I applied and got in to Vassar but was encouraged to go to Sarah Lawrence by my mother. What I didn’t know at the time was that the Taconic Parkway had the highest mortality rate for car accidents. The road to Poughkeepsie was a long, dangerous road and she was preserving and protecting her young. I guess she wanted me near home. Then they sent me abroad. When I went abroad, I finally did my own laundry, otherwise I brought my laundry home to Scarsdale.
I was sent to Paris. At 13, I was sent to the Cote d’Azur. My father’s client was in Lyon. All their children spoke French and they had a summer home in the South of France. My brother and I were sent to the South of France for the summer. My mother said, “She’s not going.” My father said, “She’s getting on the plane, Lillian.” I had one parent who spoke like he was always in a courtroom. He dressed with the winged tipped shoes and the whole nine yards with the Paul Stewart suit. So I would ask, “Dad, was this the way you spoke when you were a baby?” (laughter) On the other hand, my mother was born in the Bronx on the dining room table, 1534 Charlotte Street (Tovah Feldshuh imitates where and how her mother was born). She had elocution lessons. The immigrants gave their children elocution lessons.
I had elocution lessons and it didn’t do me a bit of good. How is it that, not to use a cliche, how is it you have it all? I was at a women’s journalism luncheon. Barbara Walters said, “Women, you can’t have it all. You can have two of the three.” It’s very unusual to have three. You can have children or a husband or a career, but you can’t have all three. The thought she conveyed was if you try to “do it all,”you will suffer.
That must have been her experience. And I’m sorry it was. I never think of having it all. There are people in this audience who know darn well there are two sides to every coin. I have a great mate. Andrew Harris Levy who did originate Tovah Out of Her Mind. He’s very clever and he’s clean and I don’t just mean in the shower. I got the right mate. His mother was a concert level pianist who gave up her ultimate dream to marry Arnold Levy. She became a piano teacher. I was a classical pianist because my mother was shy and quiet and a classical pianist. And I wanted to be near my mommy. So I took piano; interesting we never did a four-handed piece. That was a bit of a heartbreak for me.
You were going to be a concert pianist.
I couldn’t do the concertos. I could only get to the Finals. I even played for Van Cliburn. It was very hard for me. “Mozart in D Minor,” “Rhapsody in Blue.” And I thought to myself, “You’re going to be an also ran. You better try out for something else.” So I did plays with music and I was immediately cast as Cousin Hebe in H.M.S Pinafore. I thought then…there are three girls singing in this operetta, and I am one of them. So that gave me hope. The next year I got Little Mary Sunshine in Little Mary Sunshine. And I thought to myself, hey maybe this might be something that I can do really well.
But the man I married and I were brought up on the exact same music, the same love of opera. (Tovah imitates her mother.) “If you’re gonna marry someone, marry someone of your race, your religion and your social class. You wanna fight? Fight at the opera.” The woman’s speech patterns that were fancy, devolved as she got older.
I have a certain sized bosom. You really can’t see it because there isn’t a breast pad left in Manhattan that isn’t in this bra. Anyway, I have a very small chest. My mother and my beloved daughter have a very ample chest. My mother looks at my daughter and looks at me and she says, “Well, I guess it skips a generation.” (laughter)
So why do I have it all? I had great parents, but I had the great luck of choosing a man who didn’t begrudge me my work. And his love for me had to do with him not stopping me. We’ve been married 40 years and it’s taken me decades to realize that. There’s times he comes in and he’s working on his law. He’s a fantastic lawyer, the head of a department of huge law firm and now he’s an accountant for the biggest law firm in the world. I will not let him retire. I do not believe in retiring, so I can go to Florida and do my nightclub act. Tovah Feldshuh segues to a joke. So I’m down there and I tell them. I’ll change the opening. I’ll change the closing. And they say to me, “Ms. Feldshuh, you don’t have to change anything. They’re all dead.” About retirement? No. In my experience you have to live for a purpose that is beyond yourself. Children are usually the easiest solution to that.
So I had these good parents. I loved my father deeply. He was a Harvard lawyer. I married a Harvard lawyer. My father-in-law was a Harvard Lawyer. My mother-in-law was a classical pianist. My mother was a classical pianist. I was a classical pianist. So we had enough synchronistic coincidences, that had nothing to do with each other until will met each other. That made vast areas of the marriage easy. And that’s why it was possible in my life, to “have it all.”
Tovah Feldshuh in Conversation With Linda Winer was a delightful presentation. Though I didn’t include all of the lengthy conversation here, you may find it is at the NYPL for the Performing Arts. Tovah Feldshuh, did mention that she wanted to get this “on the record.” She has not had any plastic surgery!
I would credit her youthful appearance to her peace inside, her brilliance, cleverness and her luck in choosing the right partner, and of course, her obvious joie de vivre!
You can see Tovah Feldshuh in The Prompter May 28–June 16 at Bay Street Theater in Sag Harbor. Tovah is LEONA! is on its way to San Francisco’s Feinstein’s at the Nikko from September 20-21. You can find her on https://www.tovahfeldshuh.com/
Posted on May 10, 2019, in Interviews, League of Professional Theatre Women News, Theater News, NYC and tagged Bruno Walter Auditorium Lincoln Center, League of Professional Theatre Women, Linda Winer, Ludovica Villar-Hauser, NYPL for the Performing Arts at Lincoln Center, Sophia Romma, Tovah Feldshuh. Bookmark the permalink. 2 Comments.