Welcome to the 5th installment of Conversations with Friends, a blog focused on the enlightening and entertaining conversations I have with an assortment of accomplished professionals, thought leaders, and game changers. And yes, they are my friends, and I am very proud of them. But, way beyond that, these are bright people with genuine passion and great insights that I want to share with others. Through our discussions, I hope to present a bird’s eye into the unique nuances and points of view that make these conversations really interesting.
March 25, 2016 – New York, NY – I am really excited to share this conversation. Yes, it’s exciting enough alone just to publish the 5th edition of CWF, but the subject of this one is just really special. Why? Well, every once in a while, you meet someone who you just want to hang out with…like every day, all the time …because not only are they bright and good-spirited, but they have so much to share. The kind of person who you could just wander around the city with and comment on things with the continual refrain of, “I know!” or “Me too!” or “Really, what else happened?”…well, that person to me is the phenomenally talented, Jessica Hecht. As these things usually happened, we were introduced by a mutual friend – someone I have known my entire adult life (or as I call it, since I landed on planet NYC). He had invited both of us to a wonderful event at Lincoln Center, seated us together and we immediately fell into a lovely conversational groove. As I thought about who would be a good person to talk to for CWF, I couldn’t help but think that I needed to have a “conversation” with Jess. I have to say, it is very hard to stick to any kind of “script” as our conversations tend to weave in and out and around, all within some realm of our own fascination. To our credit, we usually get back to the topic, even though we have to force ourselves at times 🙂 …And this what we talked about on a blustery, gray winter morning, sitting comfortably near Central Park, drinking our tea and coffee before she headed off to her matinee…
Hilarie: As an actress you have had so many great roles, how did you get your start?
Jessica: The Heidi Chronicles (1988) was my first big play. I was the understudy and had to be prepared for 11 parts. I went to NYU and my drama teacher was the casting director for the play. As luck would have it, it became a national tour and I went to LA with the tour. I was young, and my boyfriend was a cast mate, we decided to stay in LA. When you’re young LA seems like a pot of gold, just a magical place with bright sun and palm trees. But, I wasn’t getting any work; then my agent dropped me. At the time, I looked like a hippie. I just didn’t know how to present myself. Ha! and I was coming up in the era of beautiful blondes, with their hair done, etc. (insert playful hand gestures and an eye-lash bat or two to complete the picture). I heard about an agent who was casting for FRIENDS, I sent my photo. Insanely enough, the only other person from the small Connecticut town I grew up in to go into entertainment business was the casting director of FRIENDS. I am sure she called me in just to see if I was who she thought I was (I was). They were looking for someone who looked “lesbian light”, who wore antique dresses and lip gloss. With my super long hair and natural tendency to actually wear long flowy dresses (still do to this day)….it all seemed to work and I was cast.
Hilarie: Having been on, as a cast member of, iconic shows like SEINFELD and FRIENDS, how did you relate to their enormous popularity? Was that surreal?
Jessica: It no doubt put me on the map, but no one had any idea it would be anything. Extraordinarily, the cast (FRIENDS) was incredible. Very nice people. Lisa Kudrow is brilliant and Jennifer Aniston was so sweet, open and friendly. I never found anyone to behave like a mega-star. Just to give some perspective, I was a nanny for George Wendt of Cheers fame, for the first year while on FRIENDS. However, I was on Seinfeld first. Yes, I auditioned for Larry David. The process was like a factory. The big network sitcoms are enormous corporations, versus how other shows come together. You could feel that you were part of something much bigger than yourself.
Hilarie: Speaking of behind the scenes and being that you have worked with so many notable actors, who were some of your favorites to work with?
Jessica: I have to say, I love something about all of them, at different points in the process. Some people are remarkable in rehearsal and others you just want to perform with. My present experience was uniquely excellent from start to finish. Danny Burstein (her co-star in A Fiddler on the Roof) is a consummate stage actor so it’s thrilling every night to try something new and it’s almost like playing a sport together. Although, since he’s taught me a ton about musicals, it’s a bit like scrimmaging with the coach. In terms of thrilling, one of a kind experiences, doing Julius Caesar with Denzel was kind of nuts– in a great way. He has an insane energy due to the adoration that flows from his fans and the power of his accomplishments. He’s saturated in self-possession. Although that takes tremendous effort and I don’t want it to sound like he has this huge ego, he’s sort of stunning in what he does for people. Walking on to the stage every night we were showered in overwhelming applause. It wasn’t for me, of course, but I just soaked it up. I thought, you could be healed by this kind of positive energy– it’s so powerful.
Hilarie: Being a NY’er, how would you describe the theater community?
Jessica: In all seriousness, I would not be where I am – anywhere near where I am, without it. I have to say that without having the group of friends that go through the same thing, you can’t develop any sort of sophisticated aesthetic; without this little tribe, you just can’t do it. I do fantasize that if I ever get to write a great article or I win an award, what I would want to do talk about the theatre community because you (as an actor) don’t have any success without the community. It is because you (actors) get so immersed in constantly striving to learn, grow and earn respect; doing dozens of readings, projects (for free) and supporting friends (in the business). You stay in touch with people who have talent. You develop a network of your own and figure out your life through it. It’s a really honorable profession, there is no single effort that makes one successful.
Speaking of success, I (it’s me, Hilarie) had the extraordinary opportunity to see you in Fiddler (on the Roof) this past Saturday. (Jessica is in the female lead, Golde). It was terrific; You were terrific! And it was so well done, it was traditional but modern too. I was so happy I got to see it with my Mom, but also curious to get her take on it versus mine (generational, etc.) since she had seen the original production. It got “two thumbs up” from both of us!
Hilarie: The story of Fiddler on the Roof is timeless, yet this revival has come back at a very intense time. How do you think the story of Fiddler speaks to the larger issues that are relevant today? And how might you compare that to 1964, when the show debuted?
Jessica: People that were initially involved in bringing Fiddler to life (Joseph Stein (writer); Jerry Bock (music) and Sheldon Harnick (lyrics) were much more involved in their families struggle to adapt to the “new world”. They were all born in the US, making them 1st generation American Jews. Even now, but much more so then, a lot of people reflect on their Jewish identity with conflict. This was certainly the case with the original cast and creators, they had mixed feelings about their parents and grandparents, as they, themselves were secular Americans. The show is really about immigrants and that is a timeless struggle. The staging is purposefully sparse, clean and completely authentic. In every “time” there is a different group of people that are forced to endure unspeakable circumstances. For instance, the same things are happening today to the Syrian’s. They have lived through years of volatility, violence and war until they finally fled. It was really a big part of my process, reading about and studying the Syrian refugee crisis. It’s the casts personal mission to make it (the show) relevant to today’s refugee crisis. The situation today is that groups of really educated people are being exiled. It’s so remarkable; it’s the same journey just with a different group of people.
Hilarie: When I think of Fiddler, one word comes to mind…Tradition. I find that to be such an interesting word yet I struggle with what it’s supposed to be now, today, in the world we live in…so, if I were to ask you to explain what “Tradition” is, what would you say?
Jessica: It has a very personal meaning. I feel deeply connected to the sense of what my ancestors took with them in terms of family rituals. I come from a group of people that were very connected to family, I feel that when I go to synagogue. I come from a co-dependent, inter-connected overly involved family; my husband doesn’t, but that’s ok, it’s personal. That is really at the root of what the play is about. It speaks to how terrifying it is when the nuclear unit is torn apart, when that is the single most important thing to these people. It really starts with the overwhelming fear that the “traditions” were about to be lost and the notion of not being able to possibly function without them.
Hilarie: Was this a role (Golde, in Fiddler on the Roof) you always would have liked to play or thought about playing?
Jessica: No, never even thought about it. I never thought I would do musical theatre. Again, it’s a small world, the casting director knew I sang in the choir in my synagogue. I have certainly done many plays along these lines, that involve struggle, family, loss…the classic American plays, but I had not done a musical. I was so nervous to sing, as it really is so much about your heart. If you don’t have an incredibly trained voice, it’s terrifying (hand on heart, eyes wide…expressing terror, she is a very talented actress after all!) I went to a coach to learn how to breathe. To be in a situation where I usually have some composure, I was just floored with insecurity. It was terrifying, but very liberating. I came in three times, and “acted” in a very Yiddish way, like I was channeling my Grandparents. Then, Danny Burstein (Tevya) came in (he was simply outstanding on stage, btw!) and then it all came together. When he arrived, it was like “Oh! I understand what this is, It’s a scene”. Then, it just flowed. I did it in a very Yiddish way, like my Grandparents.
Well, my friend…if I am certain of one thing, it’s that your Grandparents are looking down and beaming from ear to ear. Mazel Tov on a life well-lived and thank you for taking the time to “talk”.
Jessica Hecht is currently starring in A Fiddler on the Roof and made her debut in The Last Night of Ballyhoo. She has appeared on Broadway in After the Fall, Julius Caesar, Brighton Beach Memoirs, Broadway Bound, A View From the Bridge (which garnered her a Tony nomination), Harvey, and The Assembled Parties. Jessica has starred in numerous off-Broadway plays, including last year’s productions of Sarah Ruhl’s Stage Kiss at Playwrights Horizons (which earned her an Outer Critics Circle nomination), and last summer’s Shakespeare in the Park production of King Lear, alongside John Lithgow and Annette Bening. She is known as Victoria in the indie hit Sideways, Susan Bunch on TV’s Friends, and Gretchen Schwartz on Breaking Bad.
Hilarie S. Viener is Founder of Viener&Partners, a brand and marketing consultancy based in Manhattan. Her career has afforded her to work with over 100 brands from start-ups to Fortune 100’s, all over the globe. Her prior experience includes roles as Executive Vice President, North America of The Value Engineers, global brand consultancy and President of branding and digital agency, WONDER. Ms. Viener is a graduate of American University’s School of Communication in Washington, DC. She began her career at Wells Rich Greene Advertising, then moved on to roles at Griffin Bacal, Lowe & Partners and BBDO.
For more information or to review past editions of CWF, please go to www.vienerandpartners.com
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