This transcript was automatically generated and might contain errors.

[0:01] Alysha Umphress: While you were skipping stones, building forts and flying kites, I was missing school and all my Saturday nights. Other kids were climbing trees and rolling down hills. I was singing songs to pay my family's bills. Little me, growing up Broadway. Little me.

[0:20] Marc Tumminelli: Hello, everybody. Welcome back to LITTLE ME: Growing Up Broadway with me, Marc Tumminelli. My guest today has been seen on Broadway in On the Town, American Idiot, On a Clear Day You Can See Forever, Priscilla Queen of the Desert, and not seen but heard on Broadway in Bring It On. A few of her other credits include the Off-Broadway revival of Smoky Joe's Cafe, for which she received a Lucille Lortel nomination, Wonderful Town with the London Symphony Orchestra, the world premiere of Beaches the Musical as Cece Bloom at the Signature Theatre, and Pump Boys and Dinettes at the Paper Mill Playhouse. Her television credits include Law and Order: SVU, Nurse Jackie, Royal Pains, The Climb on Amazon, and the Netflix series Bonding. Her recent solo sold-out show at Joe's Pub is burned into my mind as one of the greatest club acts I've ever seen, and we're gonna talk all about it. Please welcome my buddy Alysha Umphress.

[1:11] Alysha Umphress: Hi, Marc.

[1:12] Marc Tumminelli: Hi, Alysha.

[1:13] Alysha Umphress: Hi.

[1:14] Marc Tumminelli: I'm good. How are you?

[1:15] Alysha Umphress: I swear I just saw a ghost in my apartment, and I'm not kidding.

[1:19] Marc Tumminelli: So that's that feels right to it.

[1:22] Alysha Umphress: It's October.

[1:22] Marc Tumminelli: Yeah, it's spooky.

[1:24] Alysha Umphress: Spooky season.

[1:25] Marc Tumminelli: Actually, your episode will be out the first week of November, so I hope everyone had a great Halloween.

[1:31] Marc Tumminelli: Okay, Alysha, and the thing and things like this at Joe's Pub. Truly outstanding on every possible level. Congratulations. Tell us about how that show came about and how your insane mind works.

[1:44] Alysha Umphress: Oh my gosh. How much time do we have?

[1:46] Marc Tumminelli: This is limited to an hour.

[1:48] Alysha Umphress: Never, we'll never make it.

[1:49] Marc Tumminelli: We'll never make it.

[1:50] Alysha Umphress: Um, how did that come to you?

[1:52] Alysha Umphress: It came to be really because Jake Wilson and Writer Doyle, two of my very good friends, were like, when are you doing a solo show? When are you doing a solo show? When are you every year, every month, every week, had a thread about it. Like, when is this happening? And then finally they were like, okay, enough. Enough is enough. You have to do a show. And Jake basically just emailed Joe's Pub and was like, hi, I'm emailing on behalf of Alysha Umphress, and we're gonna make this happen. What dates do you have? We want two nights, you know, preferably in the fall, and really just took the reins. And then they were like, here are the dates we have, and we put it on sale in June, and it sold so well the first day that we added a third date. And then I just was like, okay, now I need to put together a show.

[2:35] Alysha Umphress: And basically, the reason we called it Alysha Umphress and things like this is really just because, you know, when you book at a venue, they want to know the title and with the contents and the through line and the thesis and like all these things, and you're like, it's four months away, five months away. I have no idea. Yeah, I literally don't even know what I'll be doing. So I just basically was like pulled from one of our favorite poll quotes from Liza on Home Shopping Network, which is where she goes, and things like this, and it's just something that we say all the time. And so I was like, why don't we just call it Alysha Umphress and things like this? And it can be that sort of leaves it open to being whatever I want it to be.

[3:15] Alysha Umphress: Yeah, literally, and it was everything anyone wanted it to be. I mean, you sort of hit it all. I mean, and the biggest excitement for me was your Miss Carolina Teen USA, Caitlin Upton original song, which is if you are unfamiliar with that clip, just Google it and we'll talk about it. Just Google such as and it'll come up. What was the idea behind creating that fabulous new tune, which I need on iTunes, like immediately?

[3:45] Alysha Umphress: I know. Well, we're working on mixing a live album from we recorded all three nights. And so we're gonna try to yeah, mix it and do like a re-release of the show in January and a, you know, an encore presentation record release.

[3:57] Marc Tumminelli: That would be so, so exciting. I mean, I want to hear about that song, but like all of your song choices were so brilliant and sort of the way you weaved the night together, it just sort of elevated what this art is of cabaret that is, I think, has been lost over the last few years of just like everyone putting together a solo show to an actual cultivated evening of storytelling. And you just sort of are you your talent is so beyond what everyone else has to offer. And it was such a thrill to get to see you sort of do that and have that experience I had with the people in that room that night was just truly a thrill. And I can't lie, so I'm telling you my full truth here.

[4:36] Alysha Umphress: I know, and you are a tough critic, and honestly, it means the world that you say that. Thank you so much. Really, truly. Back to the song, Miss Carolina Teen USA.

[4:45] Alysha Umphress: Well, that song, I would say just like to, but like blanket, how I came up with the show was really just like a work in progress. I think I was like, you know, I had I knew that my mom had all of these clips of me from home videos as a child singing constantly. What you didn't see, I mean, there was so much gold in all of those baby videos of me singing, but like it felt like all my parents did was exploit me and be like, sing this song, sing this song, Alysha, sing this. We'll be in a pumpkin patch trying to pick out a goddamn pumpkin for Halloween, and they're like, Alysha, sing the pumpkin song. And it's like, no wonder I'm like constantly singing because that's all they ever wanted me to do from literally a year and a half years old.

[5:24] Marc Tumminelli: Well, they obviously had to know that you could sing then.

[5:28] Alysha Umphress: Well, because I started singing at a really early age and I could hold pitch and I could memorize lyrics. Like I just would watch Chitty Chitty Bang Bang and Mary Poppins was my favorite. And then I would be able to like sing all of these songs back. And at like one and a half, two years old, that was a little bit like they're not musical at all. My family, no one is musical. So I think that they thought it was, you know, a gag. And they were like, well, yeah, do it. Sing dance for grandmas and get on the fireplace and literally keep singing, never stop. So we cut it down to just the essentials to do like the storytelling for all the video packages, but like the amount of footage that we had could call we could put together three more shows at least.

[6:05] Alysha Umphress: Like I want more. It's crazy. I know. So it was basically like there was something to that where I was like, I want to do different video packages that sort of, and then the title actually really helped me, even though we just threw the title, be like, oh, Alysha Umphress and things like this, but it sort of became looking back at what I did as a child and how it has informed who I am today. And so it was like we kind of put together all the sections because of that. And then I was able to weave in all of these pop culture references, things, videos that I've loved since college. I mean, like Jacqueline Roman, Scat Girl from American Idol, we have been quoting and loving her since freshman year at BOCO.

Like, so to actually, you know, push these pioneers to the foreground and put them in my show, because they really have made up so much of who I am and stuck with me, Mary Roach, Wendy Williams, I mean like Shelley Duvall, everybody. It just was a thrill to put those together.

[7:03] Alysha Umphress: And then the songs, you know, it was a they were puzzle pieces. Like I sort of once I kind of came up with what the different sections were going to be, then I was switching up songs and sections up until the week before the show. How Lovely to Be a Woman didn't get added until maybe a week before and that was like a show-stopping moment. I mean, thank you, you took that song and like really turned it around and let us all like have like a real moment to think about women's rights. And I don't, you know, this is what I'm saying that people aren't thinking like this. And to take a song like How Lovely to Be a Woman that we all know and sing it in the way that you did and deliver it with that level of, you know, heaviness essentially without trying and but I really didn't want to be heavy-handed.

[7:45] Alysha Umphress: Yeah.

[7:46] Marc Tumminelli: Yes. It was, I mean, that's sort of the key. I mean, we all, you know, if you're putting together a cabaret, call me so I could tell you what not to do. But heavy-handedness is not what we want. And so to sing that song as it was intended and still give us that experience was was so incredibly cool.

[8:03] Alysha Umphress: Thank you. It definitely was like a moment. But so much of your show was centered around your child stardom or at least that was your, you know, sort of runway to the rest of the show. So where, since this is the LITTLE ME: Growing Up Broadway podcast, we're gonna talk about you as a little kid that little belting in a pumpkin patch.

[8:23] Alysha Umphress: Exactly, growing up children's theater in the Bay Area aka Broadway.

[8:28] Marc Tumminelli: Yes. But did you like know what Broadway was?

[8:31] Alysha Umphress: Oh yeah, I mean once I was like probably eight, nine, ten, I mean yeah because my parents took me to see all the touring companies that came through San Francisco. And I was obsessed with, I mean truly I told that story about the first show I saw was Oliver and it blew my mind, changed my world, and was like, oh, I want to do this. And the next show I did was Annie, and then I truly never stopped until the pandemic. Um, can't seem to get back in.

[8:55] Marc Tumminelli: No, I'm just kidding. You're doing fine.

[8:57] Alysha Umphress: Um, so basically, you were like, you know, Broadway kid in California, which I, you know, I was a Broadway kid in New York, so it was so close. Um, sure it does feel very different when it is, you know, on the other side of the country, or did you just not even feel that at all?

[9:12] Alysha Umphress: No, I mean, we would we took like pilgrimages to New York probably maybe three times in my childhood, early adolescence, and we would just do the whole do the damn thing where we'd see eight shows in six days, you know what I mean? Like amazing all the whole Broadway schedule we would just do back to back to back. And I'd go with my mom, and she loved it and I loved it. And so I lived for those New York trips, and obviously, like stage doored everything, got everybody to sign. Um, was absolutely obsessed. And so I think, and I also look at so many of my friends that did stage door in French Woods and all of those theater summer camps that didn't really exist where I lived. So I did teen theater in the summers, which was also my world.

I mean, those were the best summers of my life, but I can't imagine what it would have been like to go to Stage Door or French Woods and do all of these shows and meet all of, you know, like I would have lost like you doing Ma'am at Stage Door in 1997 would have been, I mean, yeah.

[10:06] Marc Tumminelli: I mean, I did do Dolly in '97, actually. That's a very famous video.

[10:10] Alysha Umphress: Yeah, yeah.

[10:12] Marc Tumminelli: Oh yeah.

[10:13] Alysha Umphress: Okay. So where were you finding these outlets to actually perform and put this pumpkin patch singing to good use in the Bay Area?

[10:21] Alysha Umphress: Well, I started doing children's theater, which was like one of those sort of things that's a little not a scam, but like it was like a children's theater that you did the show, but you paid to be in the show. The moms had to put in like a hundred hours in the costume shop or tech. It was like my mom after the first one was like, I hope you had fun. We're never doing that again.

[10:39] Marc Tumminelli: If you wanted to be like building the set, and yeah, she was like, absolutely not, and the guy who ran it was a complete lunatic. He was like legally blind, but just like screamed at everybody. He was hilarious. He was, his last name was Belasco, which he claimed was of the lineage of the Belasco Theater. Anyone, we're not sure, jury's out still, but um, he was wild. He was called Crazy Eddie. I mean, I think he literally called the, it was called, it later became the Belasco Theater Company, but initially I think it was called Crazy Eddie's, which is wild.

[11:09] Alysha Umphress: So he, he gave himself that nickname.

[11:11] Marc Tumminelli: All right. But my mom was like, never again, we're not doing this. And then I did started to do actual like children's theater where you just had to audition and then you did the show and your parents picked you up and you left.

[11:20] Alysha Umphress: Yeah, yeah. So then we just sort of took off from there and I did semi, you know, regional theater production. There was a lot of theater in the Bay Area. Um, so and then I started doing teen theater once I hit like 12 or so, but and I did a lot of kids' singing groups.

[11:36] Marc Tumminelli: Okay, so let's let's touch down on this. So in your show, we got to see a lot of amazing clips of you performing at county fairs, zucchini festivals, openings of stores, you know, that kind of thing. So you know like this go-to little girl with this huge voice singing at all these events. Who was getting you those jobs or jobs for lack of a better term?

[11:59] Alysha Umphress: Those gigs, you were gigging, as they say.

[12:02] Alysha Umphress: Truly unclear. I mean, I think the first one was called Kids on Key. And I don't remember who started it. Somebody must have started it, and they sort of got us gigs, but then my mom started Dynamite, which was, uh, Kids on Key was just a launching pad for the kids' group Dynamite, which we had like 20 kids in it that was always rotating, but I mean, we had some stars. I'm just gonna name you a couple people that were in Dynamite. One is your favorite bad girl from all of the 90s sitcoms, Party of Five, Full House, Gia from Full House, Miss Marla Sokoloff.

[12:36] Marc Tumminelli: Oh wow.

[12:37] Alysha Umphress: Yes, she was in Dynamite. Jessica Bowman, who played Jane Seymour's daughter on Dr. Quinn, Medicine Woman, also in Dynamite.

[12:46] Marc Tumminelli: Dynamite.

[12:46] Alysha Umphress: Yeah. I mean, just like the stars, the hits keep coming. And um, we I don't know, we just got gigs. I mean, I guess when you start to play the fair circuit, you make contacts and it's like very vaudeville, it's very gypsy.

[13:03] Alysha Umphress: Absolutely. 91, 92, 93, 94.

[13:07] Marc Tumminelli: Yeah, very games. Well, we had the Broadway kids that I was so jealous of. Do you remember this? They had all these records, and it was like all the Cosettes and the Gavrashes and the kids from Big, and they would perform at mall openings. And Richard J was like in charge of them. And it was like all of these very strange performances with like, you know, Daisy Egan and Friends. So you were the California.

[13:34] Alysha Umphress: Yeah, we were really trying it. I mean, but mostly our arrangements, I'm sure those arrangements were probably like a live piano, a band, possibly. Ours was like, what can we get from pocket songs? That's like a birth of the blues New Orleans medley, and you have a bunch of white kids being like, um, bass in street is the street, like singing all of these New Orleans songs. It's just like so wild. It was like whatever medleys we that were out and available at the time, and we would put them together and yeah, now had my mom was in charge of this. Yeah, she was the director, I would say.

[14:14] Marc Tumminelli: And did you like did you pick the costumes and things?

[14:18] Alysha Umphress: I think she did. I mean, actually, one of them I look back and I'm like, that was pretty cute. I think I showed it in the show, but it was like a denim sort of like pencil skirt with a belt, and then the t-shirt was white and the logo. The dynamite logo was actually very chic. If I could get my hands on a dynamite shirt now, would wear 10 out of 10 would wear. But it was like hot pink with the white, and then of course the scrunchy half up with hot pink. But that was like a really chic look. And then obviously, when we did holiday shows, we wore red and green, and I think we had red and green dynamite shirts and like different um we took we would take photos, like all of the girls for the holidays would all remember when Jessica McClintock was like a thing and all the Christmas, the Christmas dresses in velvet with like high like lacy necks, and we would probably were John Vene Ramsey and her lacy neck.

[15:06] Marc Tumminelli: Yeah, exactly.

[15:07] Alysha Umphress: And we took we took like holiday like Olin Mills, all of the girls in velvet, Jessica McCl. I'll get you a picture. I'm gonna need that for your scrapbook Sunday.

[15:16] Marc Tumminelli: Um you had a very signature hairstyle. Tell the people about every single photo we got to see of you and your show and what your hair was doing.

[15:26] Alysha Umphress: Well, I said in my show that I was like I once I started doing the fair circuit and performing, my mom was like, Well, listen, we got to get you a signature look. And she was like, I got it. It's a half up, half down pony, only on the left side, and it's got a double scrunchie, so whatever it matchy matchy. I mean, the damage that my mother did to me as far as like learning to unmatch things to the double socks, you know, like that 80s, 90s look where it's like the socks match the scrunchie match, everything matchy matchy, like mixing prints and like doing colors that complement things is something I've had to like really learn in my adult life. And even now I it's it's traumatizing sometimes because I'm like, oh, that doesn't match with that. And it's because of my mother.

[16:11] Marc Tumminelli: Um so used to everything being hot pink.

[16:15] Alysha Umphress: Well, or just like if it was like the Oakland A's, it was like green and yellow, green and yellow, green and yellow, the polo, the polo shirt, a yellow shirt under a green shirt rolled up, you know, everything had to be match, match, match. So um, but yeah, so I had this signature look, and it was just so funny because truly we had the receipts to back it up. I mean, every single performance, my hair was just like that. I mean, it was wild to see. I want it now, just for one one song, maybe maybe a music video.

[16:45] Marc Tumminelli: Um, we have to talk about your cassette. Um, this is a how can you not? How could we not? Now, I obviously I've known you for a long time, but I didn't know this existed, and I'm really happy about it. So, um, what was the genesis of getting into the studio and really laying down some tracks?

[17:02] Alysha Umphress: Yeah. Well, when I was like really starting out on the scene, you know, of course, mothers talk and performing, like I think I also met people. We kind of got into it because there was like California stick grand talent competitions every summer, you know, like dance competitions where you go, but for for singing, and we got into that circuit for a little bit, and um I think we met this guy, Jim Bedford, who was like, you know, one of those old sort of probably gigged and played for lots of really famous people, like guitar player smoky voice, and he had a studio called Jim Bedford Studios. And so my mom probably got his card at one of those vocal competitions, very like the Minnesota state like modeling competition. If you sign up a friend, we will waive the fee.

[17:44] Marc Tumminelli: Um, you know, yeah, I love it.

[17:46] Alysha Umphress: Yeah. But so we would drive to Castro Valley, which was actually a little bit far from where we were in the Bay Area. It was probably like an hour and a half with traffic. And I was such a car sleeper that every time we would drive out there, I would fall asleep immediately in the car and we would get there, and my voice would be in the basement because I was so tired. So my mom would be like, okay, you're not fucking, I'm not gonna pay and drive an hour and a half both ways for you to spend half of the lesson, which cost this much money warming your voice up. He show up ready. So we would have to like play musicals in the car and just like she'd be like sing, sing the whole time in the car.

[18:19] Marc Tumminelli: So what was the go-to car musical?

[18:22] Alysha Umphress: I mean, uh, probably like I'm sure like a secret garden. I'm sure anything goes obsessed with anything, the patty version. I mean, that really informed so much of my child. Everything, really.

[18:33] Marc Tumminelli: Everything, everything, really.

[18:34] Alysha Umphress: Yeah, truly. Um, but yeah, so we would sing, and so uh I took voice lessons, lessons. I mean, he was more of a coach that was like, yeah, man, sing this song. I think you know, you really sound like Brenda Lee. Like, I think you could really, you got that growl, yeah, let's do that. And I'd be like, okay, Jim, like literally seven. He's like, I think we should, I think we should make an EP. I think we should send it out to record labels. And I could do this thing where I could growl with my voice.

[19:00] Alysha Umphress: Really can growl. Um, it's so unbelievable. In an inappropriate, yeah, in the signature tune on this called Dynamite. It's such a growl.

[19:08] Marc Tumminelli: Um, how old are you here?

[19:11] Alysha Umphress: Uh, I think seven when we were a seven.

[19:14] Marc Tumminelli: Wow.

[19:15] Alysha Umphress: All right. Seven or eight. We're gonna give it a quick listen to Dynamite, which is really nothing short of the word.

[19:22] Alysha Umphress: Here we go. Dynamite dynamite dad, hey baby, when you kiss it, dad might baby when you hug and hold me tight. How does this fold that dynamite? And one those things I love to do tonight, then I would love you to with all right.

[19:59] Marc Tumminelli: The growl is unbelievable. Also, it's so sexy.

[20:03] Alysha Umphress: So, I mean, you know, that's what the record that's what Capitol Records said. My mom sent the tape to them, and they wrote back and they were like, uh, we you know, wonderful voice, lots of talent there. We think that maybe it's a little inappropriate for someone her age, the this the subject matter.

[20:18] Marc Tumminelli: No, you sent all four songs on the EP to Capitol, or do you remember that?

[20:22] Alysha Umphress: I'm sure my mom sent like you had to send, like, you know, fetch the whole tape. Like there was no digital files, yeah.

[20:29] Marc Tumminelli: How did you decide on the four tracks for that?

[20:31] Alysha Umphress: Because you really sort of hit everything. You give us a country song, yeah. Just wanted to show the range, you know, like because sweet nothins and dynamite are both Brendalese songs, they're a little similar, same vein, but we're like, this is what she does. But then we're also gonna give you some country, and then something for the holidays.

[21:02] Alysha Umphress: We pray. Oh worlds at peace, we pray. Um Christmas Day. A beautiful Christmas song that we Yeah. I need to look at the tape and see who wrote Christmas Day because I it's a it's a Christmas song I've never heard since, never heard before, never heard since.

[21:38] Marc Tumminelli: And it's possible your mother wrote it.

[21:40] Alysha Umphress: No, she didn't write it, but it's very possible Jim Bedford wrote it and was like, Yeah, maybe you sing one of my tracks. I mean, I'm guessing that's what it was, or someone he knew, or someone he was trying to like, you know, promote that also was a student, who knows? Uh, need to look at the tape.

[21:52] Marc Tumminelli: Well, I need to go back home and look at the tape. Get back, go back to the tape, let us know what's up.

[21:56] Alysha Umphress: So was there like, did you think, oh my God, I'm gonna get discovered, like this is it? Did you ever have that feeling? Because you have this voice and this personality and you're beautiful, like all the things were working. Like, did you feel like tomorrow's the day?

[22:10] Alysha Umphress: It wasn't, I mean, you know, here's what I will say from my my mother. She was a stage mom, absolutely, but she was also very much thought my whole life was like, if you ever don't want to do this, just tell me and we won't do it. Like, she wasn't super pushy. You know, she knew that I genuinely loved it. Um, so I think she worked her ass off to like get me opportunities and and she fell in love with it too. But she was not pushy in that way, where she was like, like I fell in love. I went to equestrian camp one summer in the midst of all this and really just had the time of my life and got back and I was like, Well, I'm gonna ride horses. And my mom was like, Well, you're gonna choose between musical theater and horses because horses are a full-time thing and it's very expensive. So your choice, singing, musical theater, or horses. And I was like, musical theater.

[22:57] Marc Tumminelli: Um so there was a brief shining moment where I could have given it all up for the equine arts and I didn't do it. Maybe, maybe it's maybe a bad choice and reticent. I mean, I don't know. Is it too late? You can always get up to Westchester and ride a horse.

[23:10] Alysha Umphress: Um, when people tell me when I meet little kids, they're like, I have a horse. I'm like, oh, that's just too much for me. Yes, that's wild. There's too much going on here.

[23:19] Marc Tumminelli: Um, so like as you're sort of moving in and you know, kind of going through these 90 times pre-high school, were you thinking I need to go to an arts high school? Were you already thinking about college? Like, what's happening for you? Obviously, you're doing a billion shows at every regional theater and your local theaters. Tell me where you were then.

[23:37] Alysha Umphress: Yeah, I would say that um I oh, but back to your question about like, did you think you were gonna get discovered? I I don't think my mom was ever like, I don't even think she told me about sending it to Capitol Records. I think that probably she and Jim did that on their own and weren't like we're sending it to a record. Like, why tell a kid that they're not really gonna comprehend it anyway. But actually, I will say we didn't really, because all of those aforementioned girls who like Marla and Jessica and like they all went down to LA for pilot season and stayed at the Oakwood, which is that very famous, I'm sure you know, obviously, you could tell some stories. But like um, they all did that hustle every year.

And my mom never did that with me. She was like, you know, they were like, maybe we should get her, you know. You ever thought about getting her ears pinned back? You know, they stick out a little and my mom was like, Oh, should I? And my dad was like, No, well, you know, like things like that. I think that they draw they really drew the line at things, you know.

[24:27] Alysha Umphress: But um, so I don't think at that young, I was like, I'm gonna get discovered. But I did um always know that I wanted to be on Broadway. I think that ultimately was the goal that like was always the thing I wanted. Whereas like a lot of the kids around me were like, we want to be in movies and commercials and all that stuff. And I was like, I'm gonna move to New York, I'm gonna go to NYU. And that's what I said forever until I went and visited NYU, like right before I started applying for colleges. And I was like, uh, that's actually too much for me. I need something smaller. I need some, I'm gonna get there eventually to New York. And I just want like a cushion, but I want to be on the East Coast. So I ended going to the Boston Conservatory.

[25:04] Alysha Umphress: But um, I went to normal high school for the first year. And there was no theater. We we were doing shows in the library shows. We were doing like talent shows in the library. We didn't even have a proper musical. It was like such a sports high school, brand new facilities, football field, like water polo, like everything, but just not theater. So then my sophomore year, I applied to San Francisco School of the Arts. And um, I was a sophomore transfer. The theater department was full up, and they were like, we can get you into the vocal department. But is there any ethnicity that you are? Anything, anything you could prove. And my grandmother on my dad's side was so far so into lineage, like it was her passion way before 23 and me and all of that.

Like it was her passion that I'm actually like one sixteenth Cherokee. And literally she faxed over like a treaty from Chief or maybe it was Pontiac. I think it's Chief Pontiac. And like there was like a paw print treaty that she could trace back.

[26:04] Marc Tumminelli: Um, so I was actually registered in my school as Native American.

[26:08] Alysha Umphress: And I really should have just like got, you know, ridden gone on road that wave.

[26:13] Marc Tumminelli: Um, so you obviously you go to Boco, you're doing these things. When did you discover this jazz part of your voice? Because I mean, this is what really separates you out in the musical theater world too. And I can't imagine that's something you discover when you're like eight. So where where do you find that?

[26:30] Alysha Umphress: Yeah, absolutely. So that was from a vocal coach that I had when I was a teenager. I think I started his name was Joe Barnett. And he really was, as far as like a mentor, the biggest influence on me that of someone that wasn't, you know, a recording or an actual um show or whatever, like a person that really shaped who I became. And he he was the MD and music, he was the musical director and arranger for a lot of center rep shows. It's like a regional um semi-professional company in Walnut Creek. And uh I just started working with him. Jim Bedford days were over. Um, and he just gave me a lot of rep um and was like, you know, your voice is really you remind me of like a Dinah Washington.

[27:11] Alysha Umphress: There's like a raspiness and a quality to your voice that yes, you do musical theater really well, but like you should really like look at all this jazz stuff. And he just gave me rep, like gave love me or leave me and I'll close my eyes and good morning heartache, like all of these super sort of heavy songs for a you know teenager, 15-year-old, yeah, 14, 15, 16. And I fell in love with it. And it was just like I have my voice lesson once a week, and I really sort of leaned into that. And we also did like Meadowlark and you know, all of that. All the songs. Malpian Shire, he loved Malpe and Shire, lots of Malpe and Shire. But um, yeah, and then I went, and then when I went to school of the arts, I actually um Santana's son, Sal Santana was there at the same time as me.

And uh we were in the jazz band together. Um, so they had like an elective jazz band with all the you know um instrumental students, and they were like, We need a singer. So I became like the lead jazz singer of the jazz band. And we at Soda and we would do um a big fundraiser every year that Santana would like headline and um I got to sing at that like a few times and um really just I guess that's where I cut my teeth I guess doing it but and I took a couple classes at Berkeley because now it's Boston Conservatory at Berkeley. But when I went there, you could um what's it called? Like sit in what's the word? I don't know. Yeah, you know what I mean. Didn't go to college. Okay, great. Perfect.

But I took a couple like you know, jazz like phrasing classes um there, but I I do wonder like if I had completely done something different and gone to Berkeley for you know jazz performance and really tried to like do that damn thing because I think that I feel the freest, and that is where my voice tends to live or soar, like that's like you and Kim Catrell, like that is where you're on the Kippiebo, where you live. Um indoor Latin he quote you bah shot a chre. It is my favorite thing to watch. And if you don't know what we're talking about, I I feel sorry for you. I really do. All right, so you go to Basa Conservatory. Are you a star there? Do you feel do you feel like your talents are being utilized in those in that time?

[29:24] Alysha Umphress: Uh yeah, I think it was a slow burn. I think um my my freshman, I was in a student production or a main stage, some sort of production every semester, but the first of my freshman year. I didn't really audition for anything. I wanted to sort of like hang back and be like, well, I had to audition for the main stages because I was on a little bit of a scholarship, and that's part of the deal is you have to. Um, but I didn't I didn't book street scene, um, which was the the fall musical. Yeah. Oh, uh, oh well. Uh-oh. And I wake me up when it's over. Truly. And I kind of got to hang back and just sort of get the lay of the land and like see everything and kind of figure out where I, but I I stuck out a little bit.

I think, you know, I was always a little bit of a riffer, kind of growing up and when I, you know, went to high school. But it wasn't until I got to Boko where I was like, oh, not everybody can do that. Okay, great. That's how I'm gonna set myself apart. And I was like, okay, I'm gonna sort of lean into this bluesy jazz. I mean, we did freshmen, they used to be called cattle calls. I don't know if they do them anymore, but basically all the freshmen, it used to be one night of monologues where you performed on the main stage for all of the students and faculty, but it was a free-for-all. Like all the upperclassmen would come drunk and high and be like, Woo! Do that monologue from the shadow box.

I mean monologues. All monologues. It didn't get as good of a turnout as the song, Song Night. Song night was the second night, of course. And then you basically got like a showcase, like where all the freshmen got to choose whatever song they wanted to sing for all of the upperclassmen and faculty. And I was like, Well, you know what? Let's just do this. Let's just do the damn thing. And I sang the oldest profession and straddled a chair and was like, ha, I'm on out. And everyone's like, who is this insane white girl? Just like singing this Lilius White number. But I was like, well, you gotta like set yourself apart from the beginning. So yeah, but I would say it was a slow burn. I mean, I did a lot of student production stuff, but like it wasn't until my senior year where I got like a big leading part in the main stage, which was weirdly candied.

I played the old woman, which was super legit. I was really afraid to audition, but our um the head of our department really was like, I think that you'd be really right for this. I really want you to work on it. And I worked with my voice teacher, Victor Janet, who is the best, like my favorite thing about Boko. And he pulled this other voice out of me over the our time together at the school. And it was the most still to this day, probably one of the most fun roles and the most rewarding roles I've ever done in my life. Um, and it was a really good production, but that was senior year. And that was really the only thing I did where I wasn't like Riffy. So then you come to New York and you start doing this thing and you're auditioning, and I've known you since then.

And so, like you would get so close to big things. Um, you know, for a while, and you were like Rouway's best guest secret, and everyone knew you and everyone was obsessed with hearing you sing. But like you were like, Where, where is my why am I not on Broadway? Like, how stressful was that those first few years before you started working kind of nonstop?

[32:27] Alysha Umphress: It, you know, it was, I was like ready to pay my dues. I mean, well, so when I was still at Boko, I think my junior year, they were first replacing for hairspray. And I went to like that open call. It was like on the news where it was wrapped around the buildings. Do you remember that? Yeah, my first open call. Yeah. And I took the Chinatown bus from Boston. I think a bunch of us from Boko went. And I made it all the way to the last round, which was Telsey behind the table with everybody. And then I got a bunch of callbacks from there to the point where they they paid for my train fare, like to get to and from New York. So I was like my junior year being like, oh my God, I'm about to book the lead in this thing.

And then I get to the final callback and I'm five, five and a half, six, five, six. And so it was me and then like Carly Gibson, Kay Alis settle, like everybody else was five, one, five, two. And I was like, I'm not gonna get this. Um, I just realized in that moment where I was like, oh, uh one of these things is not like the other. And I don't want to brag, but like from that day on, every breakdown for Tracy Turnblad said must be five, three or shorter. All right. Um, but no, I wasn't ready. It was it was a blessing. It was a blessing that I didn't get it. But um, so I got close even when I was still in school, and but I never really got dejected. Like it took me five years to book my first Broadway show after like pounding the pavement in New York.

But like I moved to New York in a year, a year, a week later, I started working at Ellen Stardust Diner, which was like honestly the I had so much fun. I made so many amazing friends, contacts that first year in the city, got to sing every day, like yeah, and I loved it. And then I started um I entered that like first XL Star, which was like the first gay bar American Idol style singing competition, and I won that. And so then I was like singing at all the gay bars, like very bathhouse betty, Bette Midler esque. So I sort of made a name for myself in that way. And then I started booking like regional work at Barrington Stage. I got my equity card and I never really felt like it was stagnant.

Like I felt like the wheels were always moving in the right direction, even though I was like down to the end for legally blonde and like Natalie Joe Johnson got Enit, of course she should. She was there for three or four years before me. She had paid her dues, she was totally right for it. Like it's like the way it works, yeah. Yeah, 100%. And it wasn't like I was not getting them and being like, but I'm the only person that can play this part. It's like, no, lots of people can play this part, and they chose the right girl. You know what I mean? And um, so I knew that it was just sort of a matter of time. And then I so it's so crazy. I talk about this a lot when I teach kids. I'm sure I've done this at Broadway Workshop, and said, you know, your rejections will sometimes just forge a new path for you.

And at the time it feels like I wanted to go to CCM because of Joe Barnett, my aforementioned vocal coach. He was like, it's the best program, you have to go there, you're going there. That's where you're going. And I auditioned and it was my first choice school. And I didn't get in and I was devastated. And Boko was my second choice. And I went there. But what's interesting is that once I got to the city, uh, this guy, Austin Reagan, who's now a wonderful director, he was um Michael Mayer's assistant. Now he's his associate. But he what he was a freshman or sophomore when I was a senior at Boco. We didn't know each other super well. But he called me up once we were in the city and was like, hey, um, we're doing this super secretive reading of On a Clear Day, you can see forever.

And we need a jazz singer. And I thought of you. And Michael was like, I want someone like on under the radar, like we don't want this to be a thing. And he's like, so you can't really talk about it, but you'd be working with Michael Mayer. And I was like, let's do this. Yeah, I'll be there. Say when. So I developed on a clear day for many readings, did the demos, did like where, and then they did it out of town in at New York Station Film, and they cast, of course, a star. They had a Nikanoni Rose do it. And there's this crazy story. It's a great story that is on my list to make you talk about it. Okay, great, great, great. Well, so well, I'll so uh I'll get to that. But I guess what what came first though was American Idiot auditions came when we were still developing on a clear day.

So when I auditioned for American Idiot, it was the same producers, the same director as Clear Day, but um I had never been in for Carnahan before and I went to a pre-screen, like I had to like work up the ladder to get to that callback for Michael and Tom Holse and Ira Pittleman and all of those guys who knew me from Clear Day. But once I walked in for the callback, they were like, Oh my God, Alicia, we didn't know you sang punk rock. That's so wild. I was like, Well, we'll see. I don't know. And I truly like worked my ass off for that audition. And listen, at the end of the day, did it hurt that I knew everybody? No, it helped, but like I still had to prove myself. It was a very, very different thing from what I they had known me for.

And but I got the job. And then Clear Day came after that. So cut to, and it's so that is all just to say if I didn't know Austin Reagan because I hadn't gone to Boko. See, it all works itself out. I have we have to talk about your Broadway debut before we go tell the story about saving the day at Clear Day.

[37:21] Alysha Umphress: Oh, okay. Okay, great, great. So we'll do it back. So you now you're you got your Broadway show. Like it's happening. Like the dream of this little kid is coming to fruition at the St. Jane's Theater in a brand new musical. And I remembered you guys performed on the Grammys, right? That was like first before we even started rehearsals for Broadway. Yeah. So like your it, your intro to your Broadway show is performing on the Grammys. I remember watching with all my friends. I'm like, I can't believe this is happening for her. It was so thrilling. Tell me about that Grammy night. And then I want to hear about your opening night on Broadway.

[37:53] Alysha Umphress: It was amazing. I mean, first of all, just getting for that show to be my Broadway debut. It's so I'm so glad that things happen in the order that they do. Also, because I've been working on Clear Day for so much longer. But American Idiot was quite possibly the greatest Broadway debut anyone could ever hope to have. And especially for me because it's a Bay Area band. Those guys are from Crockett, like two towns. Don't let her fully. She lives just two trailers down, like two towns away from where I grew up. So like I was a Bay Area girl. We did the out of town at Berkeley rep. Like I stayed at home. I got to do the show. It was like an absolute dream, dream, dream project. And like also because the band was so involved.

It was their baby. They, they were obsessed with it. We were all obsessed with each other. I've never, I have still so many close friends from that show, which like never have I made and kept such a family from a show. But we truly were obsessed with each other. I mean, we spent every day our days off. Like now I'm like, see on Tuesday. I mean, yeah, bye. Back to my real life. That show, we were like, what are we doing tomorrow? Like, okay, yeah, we're going out. Like, we were obsessed and such a family. And we were all of a similar age, and like it was just, we live like rock stars. I mean, truly, it was wild. It was wild. It was amazing. And I'm just so glad that that was my Broadway debut.

And you know, much love to Ana Clear Day, but it's a good one. But it was down in the right order. Especially because that show was in the same theater with the same pretty much creative team production. And it when I tell you that the experiences were so polar opposite, it was almost like being in the Twilight Zone. It was so wild because you're like, I've been here before. This is so familiar. But and yet it's did not even feel, you know, obviously the dream is Broadway. And when you get to live out this big dream and have this moment, there is a feeling of I did the work, I deserve to be here. And here I'm it's getting to see it come to fruition. And I'm sure for your mother, the same thing. I mean, driving back and forth. Tell me about what her experience was getting to see you on Broadway in American Idiot.

[39:58] Alysha Umphress: Oh, I mean, between Berkeley and Broadway, I uh I wish I knew the exact number, but I think she saw the show something like 50 times. I mean, yeah, she was truly obsessed. She was a groupie, her and her friend Christine would come out to the party. I mean, they were like she hosted a huge cast party at the house when we were in Berkeley at the band, everybody came. Like they she has just as much of a connection to that show as I do. But it really was the not to be hokey, the time of my life. Like it really was. It really truly was. And like there's so much love for that show, and obviously, a lot of like teenagers really connect to it, and a lot of young people, and you know, to have the original cast album and all of that stuff exist is such a special thing to be a part of. And absolutely, and what's so crazy is that it's very typical.

[40:44] Alysha Umphress: You know, I was featured ensemble in that show. So like the three girls. So like very featured. Very, oh my god, so featured. And we were so featured anyway. Even if I hadn't had that big solo, like everyone, we never left the stage. It was like being shot out of a cannon. But whereas like Rebecca and Christina and Mary Faber all were like, What's her name? Extraordinary girl and Heather, me, Libby, and Leslie, who were the three ensemble girls, we just were our names. So now in any libretto, in any production, like seeing young kids' resumes being like, I did American Idiot at the wagon wheel Watusi Theater. Um, and it's like, and I played Alicia, and it's spelled like my name. Yeah, and like reading the script, the score, and like has my name in all of like if you're on Alicia's part. So that's like an extra little Easter egg bonus that's just so it's just like it was perfect. It's so cool. And uh yeah, I'm forever grateful.

[41:35] Alysha Umphress: So I want to tell the On a Clear Day story because it really is like unbelievable. So they were doing the show at Vassar, yes. And yes, you were now not part of it. Yes. I mean, which is which we which is the way. Yeah, and I was a nobody. I mean, I had done, I was doing American Idiot at the time, but like I was a kid, and also it's Anika Noni Rose. She had a Tony like uh go off. I get it. So they were doing it, and Nika's grandmother, I think either fell very ill or actually passed away. And they, and I get a call. I had a friend visiting in town, actually from the Bay Area, and uh I was living in the village at the time, and I woke up at like, you know, we were living that rock star life, like noon, 12:30, having my bagel and coffee.

And I get a call from Michael Mayer, and he's like, hey, if we sent a car for you, could you be at Vassar tonight? And could you go on in Clear Day as Melinda? And I was like, I have a show. Like, we have a show. It was a Friday, I think. And I was like, we have a show. He's like, no, no, no, we'll get you out of the show. Don't worry about that. We won't dock you. Um, but could you do it? Do you think? Obviously, you'd have a script, and like we try to get you in in time for at least a put in a little bit of a put in. You can sing through the songs, learn this, you know, because I'd done the demos, like I obviously knew the solos, but I didn't know any of the group stuff. I didn't know. And so I was like, Yes.

[42:54] Alysha Umphress: So they send a car for me. I get in the car, and then up, I don't if you've ever driven up the Taconic to Poughkeepsie, it's just like no cell service. So every time the updated script would start to like get almost like downloaded, it would go away and start from scratch. So I couldn't even really look at the script before I got there. I get there, I go straight into a music rehearsal, and they're like, okay, just record this, try to drill it in the four hours before you go on. Then we go into a put in and I'm playing opposite the dreamiest dream boat of dreams, Brian Darcy James, who was so kind and lovely. And, you know, they're just like, okay, and now, yeah, this is where the kiss will be.

So just go ahead and yeah, might as well just get it out of the way. And I'm like, and now I'm kissing Brian Darcy James. And like literally, I was thought I yeah, it was just the wildest thing. And I went on and had the truly most out of body experience um playing this part. And like it was crazy. I later became friends with Jennifer Westfeldt. Um, I think that remember that crazy night we had him recently. Yes, I'll never forget that crazy night, I know. Oh my God. Fries for the table. Um never budgeted. Yeah, and and like she was dating Jon Hamm at the time. They were there, I think developing one of her films, and like they came to the show and afterwards were like, Oh my, I can't believe you just did that, still talk about it to this day. And it was it was really nuts.

[44:08] Alysha Umphress: And then they had me stay around the next day to see if I would do the show. Um, they were sort of like waiting to see about Anika's family situation, and she ended up, oh, I think that we had a Saturday off because power they do those weird schedules, it's almost like a rep, like a festival. So we had Saturday off. So I just like hung out at Vassar, went to like a cast party, was like, hey guys, yeah, I'm in the play, I guess, but maybe not. And they just sort of kept me on call, missed both shows on Broadway for American Idiot that day. And then Sunday, um, they were like, Anika's coming back, you can go. And then I got on a train and was like, well, back to life, back to reality. And it's very disappointing to not get to play that part on Broadway, like officially when when that happened, when the show did move.

Of course. And like, you know, once they had Harry attached, and I got to go and um go to the final callback, you know, with all of the material. And I worked my ass off. I had a great callback. Harry was lovely. I walked out of there being like, well, I'm about to be a lead on Broadway. I nailed it. Like, let's and and there was one girl in the waiting room waiting to go in who I had never seen before. And you know, and like the sign up sheet for the women in the final callback were like Renee Elise Goldsberry, Kate Baldwin, like heavy hitters at the time. And I was like, but I I killed it, like I know. And then I walk out, and there's this girl sitting on the floor going over her music, and it was Jessie Mueller.

And she it was it was her star making performance. And you know what? She was absolutely incredible, and also the kindest um most undeva uh person yeah so um if there was anyone to you know have that be the person do it right you got to no we only ran a month and a half she she never called out but no I mean I got to do it an understudy rehearsal but um you were great but I mean it was you know it was what it was but I I if there was anyone for to to be the understudy for and have with Grace and um and like watch her performance every night and be like I get it she's tremendous yeah um and then the is the next show at that theater uh Bring It On so then you were like into three back to back no so Clear Day Clear Day um we thought was gonna run forever because we're like Harry Connick like yeah whatever they're not a job go well million dollar party at the plaza opening night I mean like honey we were and then it's like uh not going great and my agents come to me and they're like hey we have an appointment for you for Priscilla do you want it and I was like no I'm in a Broadway show and we're gonna like run forever and they're like are you and I was like yeah and then that I passed and then that day this was like a Wednesday in the morning they gave me this appointment and I was like no I'm good and then that day I go in and they're like we're closing and I was like is it too late to get that um appointment for Priscilla yeah and I end up going in that in for Priscilla I want to say like the next week we had like an all day boot camp um to like harmonize and dance and like do the sides do the whatever and I made it to the end of the day with like three other girls or two other girls.

[47:19] Alysha Umphress: And we had to go over to the palace. They were like, all right, go over to the palace and try on the costumes. Like it was so like old school Broadway. And we went, and you know, I also tell this story a lot uh to young kids being like, it also just comes down to sometimes you get the job because you fit the damn costume. And I was absolutely the not the right choice, uh, given the three women that were called to the end, but I was smaller than the costumes, and it's easier to take in a costume than it is to let it out. And we only ran for like maybe four more months. So I think they were sort of like, we don't want to spend too much time. And I got the part. And the girl who really should have gotten it, I think ended up playing it on the on the road once they took it out.

Yeah. She was perfect. But it was like a lesson in also the business, just being like, oh, it doesn't really matter who the best for this role is. And I'm, and I was on the other end of that this time. And I was like, I'm still gonna take it. It's a Broadway job. But like, yeah, it's wild.

[48:16] Marc Tumminelli: That's an incredible story. You were great in that show too, and so funny. And it's also like I just had the best time at Priscilla. I thought it was such a it was such a bop.

[48:24] Alysha Umphress: It's a ball. Yeah, it was really cool. Um, tell me about recording Legendary for Bring It On, which not you're very one of the very few of my friends who have appeared in a Broadway Workshop mainstage. Um, because we got to use your track for our production of Bring It On as well.

[48:42] Marc Tumminelli: Um, you received no financial compensation for your work.

[48:46] Alysha Umphress: Thank you so much. My lawyers will be in touch. It's fine. We had it cleared. Um tell me about dude. They were just like, hey, do you want to record this song and like be in the playbook?

[48:56] Alysha Umphress: So basically, uh no, I had to audition. It was like auditioning for a show, but I wasn't against anybody at the time. And this is another story I tell as like it the less the moral of the story is do a good job, work hard and be nice and be easy to work with, because then people will just come to you. And like so Tom Kitt was the arranger orchestrator for American Idiot, and he was working on Bring It On. And he was like, Oh, I think Alicia and Josh Henry, because Josh Henry did all the male vocals and male. So we I also did like all of the female voiceover stuff in the show proper. So like there was like a cell phone recording where it was like, if you'd like to leave a message, please press two, or like the principal over the loudspeaker, or like L's inner thoughts.

Like there were lots of like different. It was basically like I voiceovered any female thing in that show. And Josh Henry did all the male stuff, but I wasn't up against anybody, but I had to go in, audition for Andy Blankenbuehler, audition for um Lynn was in the room. It was at New 42. And I um had to sing the song multiple times with like different, okay, try it like this, now sing it like this, and then read all of the copies um in different ways. And then I walked out and I got the call, like literally, it was one of the only jobs where 10 minutes later, my agents, or maybe not even 10, maybe it was five, called and were like, You booked it. And I was like, Great. But I think you just did a check every week and you're not in the show.

[50:15] Alysha Umphress: Like it is so cool. Yeah, it was amazing. It was the easy, it was the best Broadway show I ever did. I the first time I ever saw it was opening night, and it was so crazy because I obviously that got invited and did the red carpet and all that. And you know, all of the designers, you know, when you do opening nights, everybody gets each other gifts and they just go down like the list and get like a little bottle of champagne or like a pen or like whatever. And so I get a call from the general management being like, Hey, we have like all of your opening night gifts at the office. Can you come by and pick them up? And I was like, What? Because people saw your name, and they're like, I don't know what that is, but they're on the list. I don't want to leave anybody out.

[50:50] Marc Tumminelli: Well, there was like a lot of people in that show that you're like, Wait, are you back flipping?

[50:55] Alysha Umphress: You know, like yeah, that was me doing all of the aerial work.

[50:59] Marc Tumminelli: Um, you were you were great at flipping.

[51:01] Alysha Umphress: Thank you. We have to touch down on On the Town, and then I have to do quick fire questions with you. So On the Town was a huge moment for you. You played Hildy. You were incredible, and you know, you really got to step into this principal role that was that you managed to make feel modern, but still stay in the world, which is I think your incredible gift that you're able to do. Um but you were so brilliant in that show, and it was huge, and it must have uh I just want to know what that experience must have felt like to sort of get to do this classic musical that people loved and everybody universally was so obsessed with your performance and must have felt like so here I am, you know, moment.

[51:37] Alysha Umphress: Thank you. I mean, it really felt like just sort of that perfect like it all this is what it was all leading up to in a lot of ways. Like, I truly look back on American Idiot and On the Town and love them equally for very different reasons, but like they were such pivotal. Um and also they both ran the longest runs I've done, they were both a year. But On the Town was so special because I had done like you know, three and a half Broadway shows and been featured ensemble in all of them. And I was like, you know what? I love this, I'm so grateful for this, but like I know I can play a lead and like I want to play a lead. And I went to my agents and I was like, you know what? I only want to go in for roles, and if that means just doing regional theater, like that's fine, but that's really what I want to do. And one of the first auditions I had was for um On the Town at Barrington, where I got my equity card.

[52:30] Alysha Umphress: Yeah, yeah, full circle, full circle. And I worked there a lot over the years, concerts and various things. But um, and they were like, okay, so I went in and uh and and I only went in after, you know, famously, and I love her, she's one of my very good friends, and I'm truly obsessed with her. She's a star. Um, she should have 5,000 Tony awards. It's insane that she doesn't. Um Leslie Kritzer had done it at Encores with John Rando and Tony Asbeck a few years, maybe like five, six years before. And so naturally John just offered her the part. And she had done Adelaide in Guys and Dolls the year before at Barrington and was like, I was just there. Like, I want my own house and I want my own car. And they were like, we can't fit it in the budget. And she's like, all right, it's a pass. And I was like, thank you, Leslie. Thank you. Thank you. Thank you. I know.

[53:11] Alysha Umphress: Um, but yeah, so I auditioned and I got it. And like once we were there, I never in a million years took that job thinking like quirky, we might be going to Broadway. Like, truly didn't. But once we were there, I thought it was just like a Barrington gig, main stage, great part, part I wanted to play, felt really right. And then we were there and rehearsing it, it just felt special. I can't explain it. It was just this sort of thing where like, I was like, this is good. This is better than good. And I don't know what it is. And then, you know, for some reason, Ben Brantley came and saw it and gave us a rave review and was like, it's the best thing playing in New York. You just have to go to the Berkshires to see it.

So then all of these producers and New York types came and they were like, we're gonna take it to New York. And then I thought, well, honestly, really looking at the track breakdown in that show, my role would be the easiest one to stunt cast of the girls, because you need a ballerina, you need a very comedic soprano for Claire. And I was like, see ya, I'm I'm probably, you know, I'll be lucky if they keep me, but you never know. And they kept me and and they kept like all of us, except for, you know, Ivy.

[54:15] Alysha Umphress: They obviously went with a prima ballerina from New York City Ballet, the incredible Megan Fairchild. But um I we did a a revival, which is unheard of nowadays. You cannot do a revival unless if unless it's a roundabout or like MTC at like a non-for-profit with no celebrities. And we were in the biggest theater on Broadway or one of the biggest next to the grocery. No, then you're the that's the biggest. Yeah, with no with no celebrities in a revival. And we ran for a year, and like it's pretty I I look at that show as just like the little show that could. And I feel like we we I feel so proud of what we did. And um, it's crazy to think like they wanted us to go in the season before at the court theater they had offered to us, which would have been Tyler Peck would have been um Ivy.

It would have been obviously not that 35 piece orchestra, it wouldn't have been on that huge falling stage. It would have been around the same show, but like not the same show. We would have opened in the spring, we would have been up against like Violet and Hedwig. Um, it just would have been such a different thing. And I'm always like, I wonder, but I think it all happened the way it was supposed to. But it was just I remember seeing all these veterans stand up in intermission. I was like, why am I crying so hard? It was it was really uh a beautiful production. And and you know, everybody uh will always think of your performance in that show, and it's so like associated with you now. And uh, you know, I I love that we have that.

Um, you know, I'm obsessed with your album with Jeff Bowman Kranz. I've been playing too Chris Swings, Jeff Bowman Grantz. Um, if you have not listened to that on Spotify, download it, listen to it everywhere. It is so uh gorgeous. Your relationship with Jeff is so amazing, and you two really are are so special together. Um, what is your favorite track on that album? Um honestly, I really love all the duets. Like my voice my solo is fine, but like anything that we're singing together are my favorites. But I think if I had to pick one of just me, I love giving thanks. It's one of my favorite songs that he has written. It's just so beautiful. I cry every time I sing it. And it's just a, you know, it's a song he wrote for his father on, I think it was his father's 60th birthday fell on Thanksgiving.

You know, if you have a Thanksgiving-ish birthday at every seven years, I think it falls. Yeah. It oh that and every seven years it falls on the day. You know, and this was like a big one for his dad, and it fell on the day of Thanksgiving. And it's just about appreciating, you know, giving thanks and really like, what is it? What are we really doing on Thanksgiving? And, you know, being grateful for somebody being born. It's just the most beautiful song. Look it up. And um, yeah, I would say giving thanks, but honestly, all of our duets. It's a it's a great album. Um, recently you've been on my TV so much, and it makes me so happy. Girls by VEVA, so many things. And you were just like, you shine bright in the TV box.

So I want more, I want more TV for you this year. Oh my god, thank you. Me too. I just did two self tapes yesterday. So we'll see. No one. So I'm sending out all the positive energy. And um, obviously, we want a recording of your Joe's pub show. And so that is really thrilling. Is there anything else that we need to be on the lookout for, Alicia? Uh, I mean, I'm doing some projects coming up that, you know, I mean, we'll see. I'm so superstitious now that like I know it's because you also just there's you know, we've been burned. And uh there's just you just don't want to talk about stuff too much. And also for my own protect, like I don't want to get too attached to things. And yeah, but um, we'll see.

Every day in this business is an adventure, as you know. And sometimes it's a good adventure, and sometimes you're killing it. And I loved hearing your like your original story coming up in this business. Um, we're gonna do quick fire questions. Are you ready? Yeah. First Broadway show you saw on Broadway. Miss Saigon. Oh, babe. Um, your favorite Broadway show of all time. Light in the Piazza. Something you turned down either in audition or a role that you've had second thoughts about. Uh not um uh I got offered two readings at the same time. One was Hades Town and one was Zorro. And I took Zorro because uh agents being like it's a bigger the director and it's probably gonna move blah blah blah blah.

I mean, what a mistake. Okay. Um are you on the a fiddler and yiddish cast album? Yeah, yeah, I am still waiting on that paycheck. No, just kidding. Um, because the internet says you are, and I'm like, how is that? It was a bone, it was a bonus track. I don't know. It's because Rob Scher, who produced the On the Town record, produced that one and was like, I know, let's get together Donna McKechney and Lauren Molina and Alicia Umpris and who else? It was like, oh, Nancy Opal. It was like a who's who of biddy's. I love it. I mean, it's so rich. And we did a one of the songs, uh Getting Ready for the Sabbath. It was like a Sabbath song that was cut from the beginning of all the girls getting ready.

It would have been like right after or before if I were a rich man, probably. Um, and I played like Sprintsa or Hava, which is no, not Hava, Sprintza or Bielka. Bielka is obviously the little. Yeah. Well, if Donna McKechney's playing title, I mean, honey. I would like to, I'd like to see that production in Yiddish. Um, let's do it in Spanish. Um, what who would you like to see in Gypsy? Oh, uh, I don't know. Honestly, I'm like, can we just put a pause on it? No. I like an annual gypsy revival. Um, okay, worst survival job. Um survival in New York. I mean, uh, Ellen's Ellen's was the was the most wonderful job, and it was also the mouth of hell. Like it I got. Yeah. So that it was both, it was all things.

What is your go-to album for a car trip? Oh, I love Missy Elliott's under construction. It's a perfect album. Um, no skips. I love Casey Musgraves. Um I yeah, I don't know. I mean, the sky no skips. I want blank movie to be a musical. Dropped it gorgeous. Yes. Um, how long should a cut of a musical theater song be? Oh my god, Mark, honestly, sucks and Alicia's famous for giving kids 15 seconds. They're like, we have to take the journey, Mar. We gotta get the payoff. 14 pages. Okay. I cut many verses out of it. It was very I did cut a lot. Who's the greatest housewife of all time? Oh god, there's so many for so many different reasons. God, that is so hard. But um, I mean, Phaedra is a star. She is a star.

I think Sonia's my favorite of all time. If I have to wow, I don't know why. I'm not sure. I mean favorite. I love yeah, I've I was thinking of her today. I drove, I drove in and I passed a bunch of townhouses, and I was like, which one is Sonia's? It's gotta be just around here. I'll send you the address. Um, what is it about Diana Musical that makes you so obsessed? Um, it's just it's a thrill ride. It's a thrill ride. It's firing on all cylinders, it's equal parts, camp, and um bops and amazing performances. And it just has everything that I love in. I also loved Ghost for this very reason. Love ghosts. Yeah, I mean, because it had the magic, it had the comedy with Daveine Joy Randolph. It had unbelievable singers.

I mean, Casey Levy was singing her tits off, and then it was also campy as hell. And you're like, this is I mean, this is just like this the suits being like more and more and more and more and more. I also think we need to just get on recording. You have coined the phrase Difana. You created that. Everyone has stolen it from you. I have the receipts. No, I mean, I want people to use it. I want it, I want it to flourish. Yes. And I've got a million of them. Do you know what also would have been great? What? Die hearts. Die Hearts. Great. I love it. Nobody, nobody thought of it. No one thought of it. Um, who do you want to sit next to at Frank Delala's next birthday party? You always it's the right answer.

Who is your favorite Muppet? Uh probably, oh, um, Bean Bunny. So unexpected. I know. Your fashion icon is who? Uh Casey Musgraves. I mean, uh, yeah, I all just her whole aesthetic. Like she's me if I had money, I think. You know what I mean? You have such a great, like your style is better than anybody's. Like finding. Oh my god, thank you. No, thank you. Always look amazing. Um, if you can go Imagine what I could do with the with the with the budget. I don't know. Um, no, it's fine. If you can go back in time and see any Broadway show, any year, any performance, what would it be? I mean, everybody. This has to be everybody's answer, obviously, but actually it's a tie. Either the life, um original cast, Liz or uh Barbara and Funny Girl.

I mean, I feel like that's the that's the stock answer. It has to be. Okay. I saw the life twice my senior of high school. Um, yeah, that's the the advantages of living in the city. Um, okay. Uh what's your favorite Jerry Blank's quote? When you work from your home and John's call on the phone, you're a call girl. When you walk to Olymp and give a cut to a pim, you're a street whore. When they're begging you, please to get down on your knees near their groinage. Excuse me, but you see, don't you touch where they pee without coinage? When I straddle and squat to show you my I stopped you. I got you in the right spot, it was. Um, but also, but also a second I that I just want to do that one because I do know it by heart.

But obviously, I think my favorite is the interaction with her and her stepmother, where she's like, Jerry, did you use the bathroom towels to wipe your butt again? And she's like, Stepmother, you have the huevos, mas grandes, to ask me if I use the bathroom towels to wipe my ass. She's like, Well, did you? Yes, but I was in a hurry. Mother. Um, okay. Um, have you ever left a show at intermission? Oh, yes, definitely. You don't have to tell us what. I won't. Amazing Grace. Um, last Broadway show you saw. I stayed. I stayed for that one, actually. You did not stay for Act Two of Amazing Grace. I did. I did. Yeah. You're a better man than I. I will say I've left the most. I don't know if it's the theater.

I don't know if it's cursed, but I will say I have left it intermission the most times at the Broadway theater. Okay. If that gives you any, I mean, you could do the you do the work. And it wasn't Miss Saigon. Okay. Oh, I we would never not miss Saigon. Okay. Um, we're almost done. What movie can you watch over and over again? I mean, every I'm just gonna say the first one that pops to mind, Showgirls obviously is my number one. But I I'm a master at re-watching movies to the point where my husband's like, he can't. He's like, I've seen it already. We're wasting time. Like, we're moving on to the next thing. And I'm like, it is my comfort zone, it is my happy place. I love to rewatch things that I already know and love.

It makes the most sense. It's a guaranteed win. But you know what? One of my favorite movies that I can rewatch over and over again, Double Jeopardy with Ashley Judge. Oh, I love it. I saw that in the movie theater. It it's a it slaps. Okay, we have two more questions. Did he wink at the she dogs? And yes. Oh, 100%. And um, what do you wish you knew at the start of this marathon? I hate the word journey, so I'm using marathon. Oh, like that is that is my career. That is what I mean, all of this. This is a lot, and you've been doing it forever. Yeah, I think uh this is gonna be like a duh thing, but you know, when you're a kid and when you're younger and adults and people tell you, like, well, you know, enjoy it now, or like, well, it's gonna be like this, or this business is terrible, or like blah, blah, blah and gives you advice and you just sort of smile and nod, and you're like, Yeah, yeah, you just have to experience everything in real time.

But like everything that the everyone said and has happened to me, good and bad. And I think it's just wild to see it unfold and be like, life really is a journey, and there's gonna be peaks and there's gonna be valleys. And um, it's tough. It really is tough, but it's also wonderful. But you just have to know it is if you're entering this career, it is going to be a career of lots of heartbreak and turmoil, but also amazing and the highest highs. And an amazing joy you've brought us for so many years, and I adore you. Tell the people where they can follow you, Alicia. At Alicia Umbris on Instagram. And I think my Twitter, which I'm never on, but like go off if you really want. Yeah, no who.

Yeah. Is that anyone on Twitter? Does anyone still wear a Twitter? And become a very active on Twitter. Okay, cool. Good to know. Um at Crystal's Heat, which is a showgirls reference. And if you don't know it, I feel sorry. Sorry. I feel sorry for you. Um, well, I love you. Thank you so much. And thank you, everyone, for listening to this episode with Alicia Umpress. We'll be back next week with more anti content because you can't get enough of it. And uh, Alicia, I love you. Thank you. I love you, Mark. Bye. Bye. Thank you, listeners. This podcast is produced by Alan Seals, Dory Berenstein, and the Broadway Podcast Network, and edited by Derek Gunther. For more information on the LITTLE ME podcast, go to bpn.fm slash little me.

And follow me on Instagram at Marc Tumminelli or on Twitter at that to Minelli. And for more information on workshops, classes, and everything Broadway Workshop, go to BroadwayWorkshop.com. Thank you for listening.