{"id":1632,"date":"2026-06-08T21:37:31","date_gmt":"2026-06-08T21:37:31","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=1632"},"modified":"2026-06-08T21:37:31","modified_gmt":"2026-06-08T21:37:31","slug":"tyne-daly-on-the-joy-of-returning-to-theater-with-pasadena-playhouses-brigadoon-its-full-of-living-people-68-of-them-who-run-this-show-and-ther","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=1632","title":{"rendered":"Tyne Daly on the Joy of Returning to Theater with Pasadena Playhouse\u2019s \u2018Brigadoon\u2019: \u2018It\u2019s Full of Living People \u2014 68 of Them Who Run This Show, and There\u2019s Not an AI Anywhere!\u2019"},"content":{"rendered":"
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\n\tIn the acclaimed revival of \u201cBrigadoon\u201d now playing at Pasadena Playhouse, Tyne Daly is by far the marquee name, as the \u201cCagney & Lacey\u201d star appears as the Widow Lundie, a role that got a gender switch from the character\u2019s original incarnation as a Mr. Lundie. She\u2019s not on stage a great deal, compared to the romantic leads whose coming-together she helps facilitate in the classic Lerner & Loewe musical-fantasy. But don\u2019t imagine that Daly using her backstage breaks to sneak across the street to browse at Vromans or any other such diversion. She\u2019s attentive even during her time off during the show, even if she can only hear it and not see it from her backstage berth. <\/p>\n

Read more \u2018Wonder Man\u2019 Production Designers Break Down Easter Eggs, From Simon\u2019s Mutant ID to Asgard Tourism Posters<\/a><\/p>\n

\n\t\u201cI listen to the play, every night,\u201d Daly says. \u201cI\u2019m very old-fashioned. There\u2019s no room backstage, but they have little stools for me and I can sit and listen to how each scene goes, how each number goes over.\u201d She has just one explanation for this nightly focus on what\u2019s happening even when she\u2019s out of the action: It\u2019s \u201cbecause I love storytelling.\u201d<\/p>\n

\n\tAudiences are loving listening to Daly \u2014 as well as seeing her, of course \u2014 as she affects a Scottish brogue, playing a woman who comes about as close as the town of Brigadoon has to an official leader. The village is idyllic enough that it doesn\u2019t seem to require a government \u2014 just a historian, which is an important role when you have to explain to outsiders who accidentally stumble in just how it is that they have landed in a place that only appears out of the mist once every hundred years. It also falls to her to remind the romantic leads about the virtues of love and sacrifice, in a denouement that just about ensures the mist will have made its way into any audience member\u2019s yes.<\/p>\n

\nVariety<\/em> caught up with Daly midway through the run of the show, which Los Angeles Times critic Charles McNulty said \u201cmay be the best local staging of a musical I\u2019ve seen in my 20 years covering the scene for The Times.\u201d Does that mean a Broadway run could appear out of the fog, too? Daly isn\u2019t looking that far ahead; she is about theater being of the moment and not the next step on any ladder, as she explains.<\/p>\n

\nHow has your experience been so far with the show?<\/strong><\/p>\n

\n\tI understand we\u2019re a hit. My ego is too enormous to never read the reviews, but I get the company to save them until the gig is over. I just find that good reviews or bad reviews damage the work. Either way, you could be seduced or you can be disappointed, and it throws me off my game. Anyway, I\u2019m having a great play, playing with the folks in \u201cBrigadoon\u201d and at that venue, at Pasadena Playhouse. I\u2019ve learned not to say \u201cthe<\/em> Pasadena Playhouse,\u201d because they get very testy. It\u2019s the state house, and it\u2019s been there for a while, and theaters have great vibes in them, you know. I think the energy stays in the walls. Pasadena Playhouse has a lot of good vibes.<\/p>\n

\nThe Pasadena Playhouse \u2014 sorry, just Pasadena Playhouse \u2014 is an anomaly. It feels like a neighborhood theater, yet once you\u2019re inside, you are seeing invariably Broadway-level productions.<\/strong><\/p>\n

\n\tWell, but local theater is the point, or it\u2019s supposed to be. When I worked at the Mark Taper, which I did several times, Gordon Davidson was always threatening to make a rep company. I said, \u201cI\u2019m the first in line. Please do it.\u201d Although the town is not designed for theater like other cities are that are older cities. But I loved the speech that was given on opening night about the continuity. In \u201cBrigadoon,\u201d I\u2019ve got a speech about \u00a0how we have a historical continuity with this land. And historical continuity with the territory of the theater itself is helpful. It\u2019s full of living people \u2014 68 of them who run this show, and there\u2019s not an AI anywhere! Live musicians, live actors\u2026 and all those terrific kids are shoving the furniture around all night as well. There\u2019s nothing that\u2019s mechanized, that isn\u2019t human-driven, which delights me.<\/p>\n

\n\tThe piece itself was rewritten by a colleague of mine with whom I did \u201cMaster Class,\u201d Alexandra Silber. She called me up and said, \u201cThe Lerner and Loewe estate has assigned me this thing and I\u2019m doing it, and I want you to be part of it.\u201d And I said, \u201cYes, honey. Let me read it.\u201d I think it\u2019s beautifully done. Alexandra was commissioned by the Lerner and Loewe estate to refresh the book, and if she hadn\u2019t refreshed the book, I wouldn\u2019t have a part. She\u2019s just really smart and a really good actress. She was with us in New York at the Manhattan Theater Club with \u201cMaster Class,\u201d whch I also did in London for a while, but she did not come with us to London, and I was sad to lose her. Some Brit had broken her heart, and she didn\u2019t want to go back to London. Anyhow, she\u2019s written the book, and the score remains delightful. Did you know the show, when you saw it?<\/p>\n

\nYes, but primarily from repeat viewings of the film. It\u2019s been so hard to see stage productions, since it doesn\u2019t get revived often, even though when any of us were growing up, it was a household name and a standard part of community theater. It\u2019s funny that it is so rarely produced, and yet it\u2019s still a recognizable enough name that now on Broadway, there is \u201cSchmigadoon,\u201d and most people will get the reference, even if they\u2019ve never seen a \u201cBrigadoon.\u201d<\/strong><\/p>\n

\n\tRight. Well, I\u2019m very grateful that we\u2019re not doing the snarky version. When we went into rehearsal, there was a review of \u201cSchmigadoon\u201d saying it was hilarious and wonderful and marvelous, and I thought, \u201cOh, dear. We\u2019re in trouble.\u201d But, I think it\u2019s a genuine and interesting and loving story, and I\u2019m hoping there\u2019s still some room for that in the theater. Katie Spelman, the director and choreographer, said, \u201cWe\u2019re treating this as a brand new play,\u201d and she was right, and I think it\u2019s worked. I hope so.<\/p>\n

\n\tWhat I remember about the movie is that it wasn\u2019t very good. The difference between the movies and the theater is live time and frozen time. Frozen time is a moment that\u2019s frozen; you can look at it again if it was good. But theater is: I\u2019m there, you\u2019re there. You\u2019re not allowed to take its picture or record it. You just have to remember it. And the energy of that is always exciting for me. The actor\u2019s medium is the theater. Movies are a director\u2019s medium, and TV is a producer\u2019s medium where they\u2019re the biggest sensibility that\u2019s going on. But in the theater, you have to turn it over to the live bodies, and play it out in front of the live bodies. You know, I\u2019ve been an Equity member for 65 years, and it\u2019s still exciting.<\/p>\n

\nWhat is it like for you to dip into theater again and again? Your list of credits on Broadway\u2026 it\u2019s not quite Brigadoon, it\u2019s not once every 100 years, but there are gaps in-between. Your first play on Broadway was 1967, and then I think it was another 20 years or so before you came back and had your Tony-winning role in \u201cGypsy.\u201d The intervals have<\/em> gotten shorter since then.<\/strong><\/p>\n

\n\tWell, that\u2019s good. You know, I came with my young husband and our first baby to California because his career was happening here. He did a play at the Mark Taper Forum, under a series called The New Theater for Now; they were unfinished plays, and the audience was invited to see a play that wasn\u2019t completed yet. The people were lined up around the building, downtown, and I was so excited by that, and so I worked with them. The Broadway credits had to come after I got famous on TV and I could put the asses in the seats. You should forgive the phrase.<\/p>\n

\n\tA lot of the people that came to the St. James in New York to see \u201cGypsy\u201d were waiting to see Mary Beth Lacey play Rose, and I had about 15 seconds of the opening number to disabuse them of that idea. But we had toured for 14 cities before we came in, so we were ready. Arthur Laurents and Jule Styne and all those guys wanted us to be ready, mostly because the producers wanted to make their money back on the road first, in case I died the death when I came into New York.<\/p>\n

\n\tSo, the adventures in the theater trade, I like to have whenever it works. Sometimes it\u2019s the other stuff. I never did make a movie career, though I had some fun with Mr. Eastwood [costarring in \u201cThe Enforcer\u201d]. But, you know, television\u2026 I\u2019m an old lady who\u2019s trying to ply my trade.<\/p>\n

\nWhen you did \u201cGypsy,\u201d you said it was a mountain, but, your quote was, \u201cI\u2019m a mountain climber.\u201d Coming into this show, it\u2019s a smaller role, but is there a way in which every one seems like at least a mini-mountain?<\/strong><\/p>\n

\n\tIt\u2019s a much smaller mountain. But I get to tell the story. It\u2019s pure storytelling. It\u2019s \u201conce upon a time,\u201d where I explain what happened to the mythical village, and the legend thereof. And, yes, it\u2019s fun to do. I listen to the play, every night. I\u2019m very old-fashioned. There\u2019s no room backstage, but they have little stools for me and I can sit and listen to how each scene goes, how each number goes over, because I love storytelling.<\/p>\n

\n\tSo it\u2019s a smaller assignment, but it\u2019s just as nervous-making and exciting, because I\u2019m 40 years older, and so is my brain, and so is my body. At the end of an eight-show week, I\u2019m knackered. But I have the joy of my fellow players and a live band. We have a bigger orchestra on the stage at this Pasadena Playhouse than we did at the St. James Theatre for \u201cGypsy.\u201d And the conductor is a dream. It\u2019s alive. It\u2019s not a recorded, frozen experience, so it\u2019s just as nervous and just as exciting as ever.<\/p>\n

\nIt\u2019s a little thrill for the audience when the curtain opens at the end and we finally see the orchestra, because we\u2019ve gotten so wrapped up in the action, we\u2019ve stopped wondering where the orchestra is. But we know there\u2019s one there somewhere.<\/strong><\/p>\n

\n\tI\u2019m not used to having an orchestra in back of me except in concert versions, which I\u2019ve done, with Reprise and Encores and stuff like that. To have the the orchestra in back, and not below and in front of you, is a little different. There are monitors on the rail of the mezzanine so that we, the singers, can get conducted from that. But I\u2019m a little infirm in one eye, so I can\u2019t see Brad up there. But I don\u2019t have a big singing obligation at all. \u201cGypsy\u2019s\u201d like seven out of the 11 numbers; this is a little smidge. But I\u2019m not jealous, not me, no, no. I\u2019m not jealous of those real singers who can make those sounds \u2014Daniel Yearwood [as Charlie Dalrymple] and Max (von Essen, as Tommy Albright) and Betsy (Morgan, as Fiona MacLaren), they are wonderful. I love talent. I like to be around it. I like to be in the midst of it.<\/p>\n

\n\tI was never a singer. I trained at the Musical and Dramatic Academy, but I could act like a singer. When I did Feinstein\u2019s in New York, I was pretending. My old producer from \u201cCagney & Lacey\u201d came; he said, \u201cI see what you\u2019re up to, Daly. You\u2019re pretending to be a singer.\u201d I said, \u201cYes, you\u2019re right.\u201d But I look forward to my summer job. When I was a child, my parents did summer stock \u2014 10-for-10-week stocks; that\u2019s 10 plays in 10 weeks. You learned a new play every week, and I grew up on that. This is a lot more relaxed schedule than that, but I\u2019m considering it my summer job.<\/p>\n

\nYou said that when you were training as actor, everyone had to train to be in musicals, because that was just expected of an actor.<\/strong><\/p>\n

\n\tAnd do you know why? It\u2019s our form. It\u2019s the American form. The Brits have got my boy Bill \u2014 Bill Shakespeare. They own that. The Italians have opera, right? The French have Moli\u00e8re, which they celebrate over and over and over again, in rhymed couplets. We have the American musical, and I think we do it the best of anybody in the world. And \u201cBrigadoon\u201d predates \u201cBye Bye Birdie,\u201d \u201cWest Side Story,\u201d \u201cGypsy,\u201d \u201cPeter Pan,\u201d \u201cOklahoma!,\u201d \u201cCarousel,\u201d<\/strong> \u201cMy Fair Lady,\u201d \u201cMusic Man,\u201d \u201cA Little Night Music,\u201d \u201cAnnie\u201d\u2026 I mean, there\u2019s a long line. And in a way you could make an argument for \u201cBrigadoon\u201d for starting all that. It is so early in the relative history of that kind of narrative musical. And the dances tell part of the story, and the songs tell part of the story. It\u2019s not just a variety act.<\/p>\n

\nThis production seems to be serving as a redemption for \u201cBrigadoon.\u201d People have said, \u201cOh, there were always problems with the book,\u201d or they just remember the movie, which I keep going back to, wanting it to be better than it is.<\/strong><\/p>\n

\n\tTell me your opinion. What went wrong with that movie?<\/p>\n

\nVicente Minnelli wanted to do it on location, and they ended up on sets, which just don\u2019t ever look like they\u2019re really outdoors, although it almost all takes place outdoors. And the Gene Kelly\/Cyd Charisse chemistry isn\u2019t totally working, and I always found Jeff, the supporting character, the alcoholic played by Van Johnson.<\/strong><\/p>\n

Read more \u2018The Odyssey\u2019 Challenge: Tom Holland Encourages Letterboxd Users to Document the Large Format Screens They See the Film On<\/a><\/p>\n

\n\tIsn\u2019t Happy Anderson wonderful in that role? I think he manages the snark of that character, and then the turn into what\u2019s up with him, why he\u2019s so unhappy. I saw it in the rehearsal period change and morph into something really genuine. I like him a lot, and I think he\u2019s wonderful in the part, and has made that person a person, right, not a cartoon.<\/p>\n

\nYour character, of course, is now the Widow Lundie instead of Mr. Lundie. It might be a stretch to say Brigadoon is now a matriarchalsociety, necessarily \u2014 but it sort of tips that way more, a big part of that being changing your character to a woman.<\/strong><\/p>\n

\n\tShe\u2019s done it in a couple places. Donna Vivino [as Meg Brockie] now is the owner of Brockie\u2019s, not just a little B-girl who\u2019s trying to get laid. And the keeper of the wisdom is pure \u201conce upon a time.\u201d She just tells the story, and that\u2019s what we do for each other. Human beings tell stories to each other about themselves, and they always have, and they always will. \u2026 I don\u2019t like to give spoilers\u2026 [Warning: slight spoiler ahead.] There\u2019s a minor surprise in my turning up as the barkeep at the end, which is something that I suggested to Alexandra, because I thought it might be a fun bookend. Because the keeper of the wisdom, the one you confess to, is your bartender.<\/p>\n

\nThat was your idea, to also play the bartender?<\/strong><\/p>\n

\n\tYeah. If I had time in the quick-change to put on a big red lipstick, I\u2019d do it, but then I can\u2019t get out of it fast enough to show up again as the widow at the end. Oh, you should see the fast changes. \u2026 This is something that you might not know. Do you know there\u2019s only one way to do a fast change?<\/p>\n

\nNo, what\u2019s that?<\/strong><\/p>\n

\n\tSlowly. Slowly<\/em>. It\u2019s the panic of saying, \u201cNo, no, no\u2026\u201d You have to have the steps. You have to do them very slowly so that you can show up not sweating.<\/p>\n

\n\tI want to mention all my colleagues because I think they\u2019re all so wonderful. Betsy is just a dreamy lady, and Mr. von Essen and Daniel Yearwood\u2026 Oh, I\u2019m in love with my company.<\/p>\n

\nOf course people are wondering, could this go to Broadway? Do you have any designs or hopes for that?<\/strong><\/p>\n

\n\tI don\u2019t play that game. Every play that goes anywhere, everybody says, \u201cAre you guys gonna move?\u201d I have no idea. That\u2019s a whole other department. I\u2019m sure that Alexandra has hopes. I\u2019m sure that Ms. Spelman has hopes. But I don\u2019t know that that\u2019s the most important thing that happens to a play. I think the most important thing is that it gets produced around and is of service. To have it be at Pasadena, which is you say, a source of local pride, that\u2019s what it\u2019s for. That\u2019s what Gordon Davidson wanted out of the Mark Taper, to be of service to this L.A. community, and he did it for a lot of years. So that\u2019s in the lap of the gods, my friend.<\/p>\n

\nWhat resonates about \u201cBrigadoon\u201d in 2026? Obviously the changes to the book are substantial, but you aren\u2019t sitting there thinking that it\u2019s been radicalized for current times. Some people think, oh, the show\u2019s about true romance, true love conquering it all. And then other people see more of the sacrifice angle, like, would you give it all up for what\u2019s important? And then there\u2019s just the theme of the town sort of separating itself from violence and the outside world. So there\u2019s a lot of themes going on, but are there any of them that make it relevant to you?<\/strong><\/p>\n

\n\tYou just answered your own question. It\u2019s about everything. It\u2019s about enchantment. It\u2019s about a fairy tale. It\u2019s about a legend. It\u2019s about a society that\u2019s been under the gun because the British are coming. \u201cThe British are coming\u201d is what they\u2019re talking about \u2014 about an empire trying to erase the history of a smaller and more vulnerable community. You know, it means to be about a lot of things, and I think it is in the form of a musical with dancing and singing and carrying on. What\u2019s the matter with that? What do you got against true love, Willman?<\/p>\n

\nNot a thing. Not a thing\u2026<\/strong><\/p>\n

\n\tWhat have you got against love conquers all? What have you got against loss and grief and trying to repair your heart when it\u2019s been broken? I find very little to vote against. Especially kindness. You know, the Widow Lundie underlines it\u2019s not about fear and isolation. I was worried about that, and I think ultimately she has made it more inclusive, in terms of what the human beings feel.<\/p>\n

\n\tThose songs, God, just kill you. Maybe my favorite song in the show is \u201cThere But for You Go I,\u201d which just gives me the chills. And there\u2019s a lot of fun songs. But \u201cThere But For You Go I\u201d is a wondrous thought, and I don\u2019t think that nobody feels that anymore\u2026 I mean, is it a sentimental piece? I don\u2019t think so. My old mommy used to say there\u2019s a big difference between sentiment and sentimentality. Real sentiments are wow, I believe in them. Sentimentality is a messy, diminished area. I don\u2019t think it\u2019s about sentimentality.<\/p>\n

\nThe romantic leads are a little older in this show than they were before, in their 40s instead of their 20s.<\/strong><\/p>\n

\n\tThey\u2019re not kids. They\u2019ve got a little mileage on them.<\/p>\n

\nAnd Betsy is just so good with what has often been played as kind of an ingenue and she seems more sort of knowing\u2026<\/strong>\n<\/p>\n

\n\tThe character\u2019s opening statement is, \u201cI\u2019m willing to wait until I feel it\u2019s the real thing.\u201d \u201cI don\u2019t wanna just get married, I wanna be<\/em> married.\u201d How\u2019s that for a thought? It\u2019s like, \u201cI don\u2019t want to just have a baby, I\u2019d like to raise a child.\u201d There\u2019s a difference, in my humble opinion.<\/p>\n

\nYou are such a integral part of the show, with your character now setting the scene by appearing at the very top of the action now, which is another change.<\/strong><\/p>\n

\n\tOh, the opening thing? This is an exercise called: How to kill an opening hand. The greeting hand, for the one (famous actor) we know, or have seen for long years and we\u2019re so grateful for all their past efforts, blah, blah, blah. That kills a show. It reminds the audience that you\u2019re in the theater watching actors. If we can kill the opening hand, we have won. Because all she does [in the added introductory speech] is set the scene in eight sentences. \u201cLet me tell you a story. Here we are, we\u2019re in Scotland. You got that, guys? And let me tell you what happened there.\u201d That\u2019s all that intro is. But it\u2019s fun because\u2026<\/p>\n

\n\tYou know what I love in the theater? There\u2019s a lot of laughs for us. A lot of people love laughs. They count laughs. I love the silence. I love when I can say, \u201cI\u2019m controlling your breathing now, kiddos. Don\u2019t breathe\u2026 Now you can breathe again.\u201d And that means that you\u2019ve got a whole bunch of strangers sitting and listening all together. That\u2019s a communal activity that I don\u2019t think is replaceable.<\/p>\n

\nSo you feel like that works at the beginning, so that it\u2019s not, \u201cOh, here\u2019s Tyne Daly, our star,\u201d but that you\u2019re able to take control of that\u2026<\/strong><\/p>\n

\n\tWell, control is a weird idea too. But it\u2019s about, are you willing to listen? And after you\u2019ve listened, what do you think? That\u2019s all. It\u2019s pretty simple. I don\u2019t think we\u2019ll stop telling each other stories, and stories that happen in the same room. The theater\u2019s great, you know. You can say, \u201cListen, come back on Thursday, I\u2019ll be better.\u201d And there\u2019s no proving it. You\u2019re not allowed to freeze it in time and look at it again. Sorry, too bad! Nope, not allowed. That\u2019s what magnetizes me back to the theater.<\/p>\n

\nDoes enjoying doing this affect what you want to do next? You have gone a long time between theater stints before.<\/strong><\/p>\n

\n\tWell, now\u2026 Listen, I\u2019m 80, baby. What do you call long? Two years? Four years? 28 minutes? [Which is the amount of time we\u2019ve been on the call.]<\/em> What is<\/em> a long time? It\u2019s a relative, relative idea. I\u2019m only one person, and I do what I can. And what\u2019s happening next, I have no idea. That\u2019s the great thing. That\u2019s called, \u201d You got something for me? Some place I can be of service? Surprise me, y\u2019all.\u201d I don\u2019t want to predict it. That\u2019s what we used to call, in the old neighborhood, a mug\u2019s game. What\u2019s gonna be next? Take a chance.<\/p>\n

\n\u201cBrigadoon\u201d runs through June 14 at Pasadena Playhouse. For tickets, contact:\u00a0(626) 356-7529 or\u00a0PasadenaPlayhouse.org.<\/em><\/p>\n

Read more Tony Awards 2026 Takeaways: Queer Culture Gets Celebrated, the New Musicals Crisis and Nobody Wants to Publicly Thank Scott Rudin<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Tyne Daily talks about starring in Pasadena Playhouse’s acclaimed revival of ‘Brigadoon’ and her history of stage work in New York and L.A.<\/p>\n","protected":false},"author":1,"featured_media":1631,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[188],"tags":[1475,1476,1477],"class_list":["post-1632","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-legit","tag-brigadoon","tag-pasadena-playhouse","tag-tyne-daly"],"yoast_head":"\nTyne Daly on the Joy of Returning to Theater with Pasadena Playhouse\u2019s \u2018Brigadoon\u2019: \u2018It\u2019s Full of Living People \u2014 68 of Them Who Run This Show, and There\u2019s Not an AI Anywhere!\u2019 - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=1632\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tyne Daly on the Joy of Returning to Theater with Pasadena Playhouse\u2019s \u2018Brigadoon\u2019: \u2018It\u2019s Full of Living People \u2014 68 of Them Who Run This Show, and There\u2019s Not an AI Anywhere!\u2019 - 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