Please gather around for ELLE’s segment "Showstoppers," where leading actors share instances when the adage "the show must go on" took an unexpected turn during their performances. Discover how these professionals handle unforeseen challenges onstage and learn from those experiences.
This month, one of the stage’s most revered performers, Idina Menzel, opens up about her experiences in Wicked , Rent , and the new composition Redwood. Currently playing at the Nederlander Theatre, Redwood Was created by director Tina Landau and Menzel herself. The musical focuses on Menzel’s character, Jesse, who finds herself in a redwood forest as she grapples with the loss of her child. In this setting among the trees, Jesse seeks to discover a newfound tranquility and ultimately come to terms with her son’s premature passing. Initially developed through workshops in San Diego, the production debuted in February receiving favorable critiques, with numerous reviewers praising Menzel’s performance. powerhouse performance .
The production also signifies Menzel’s comeback to Broadway and the Nederlander Theatre, where she originated the role of Maureen in Rent in 1996 . The actor's final appearance on Broadway was in 2014 when they performed in If/Then , and she has since performed in Off-Broadway productions and concentrated on her solo musical career. She is also known for voicing Elsa in Disney’s Frozen franchise and, naturally, portraying Elphaba in Wicked (She even showed up in the movie adaptation last autumn.)
Below, Menzel discusses her iconic show-must-go-on moment, the inspiration behind Redwood, how the Los Angeles wildfires affected the production, and her Wicked cameo.
You probably know the story. It was my last weekend [as Elphaba] in Wicked on Broadway—ever. A lot of family was in town and a lot of fans had come back to see it. I fell through a hole towards the end of the show, an escape door on the stage. I broke my ribs. I was pulled out from this hole and laid down. The house lights went up, I’m told. The whole crew and everybody came out to help me, and we didn’t know how bad it was. I couldn’t breathe.
I was then carted off to the emergency room in the full green makeup and my black dress. In my head, I just assumed that the show stopped, but I learned that the show did go on. Shoshana Bean As her magnanimous and most benevolent self, she hurriedly prepared herself and applied her emerald-colored makeup. With just two minutes remaining before the show started, she made her entrance.
I exited the hospital dressed only in scrubs since I didn’t have anything else to wear; when I arrived, I was wearing a costume. No fans were present outside, hoping for updates about my condition—they all remained inside to ensure the performance continued smoothly. It felt like something out of a TV trope with an actual "Is there a doctor in the house?" scenario unfolding right before me. Indeed, the show did proceed, though entirely without my participation.
I returned for the last show. I struggled with movement; dressing became a challenge. Even simple tasks like shaving my legs or using the restroom were difficult. Laughing only led to uncontrollable spasms, causing pain. They asked if I could make it to the theater for a farewell performance, and despite everything, I agreed to try. At the time, I was under the influence of Percocet. My then-husband, Taye Diggs, insisted I should look good, so he got me a red zip-up tracksuit with an elastic waistband—it made things easier for me.
A kind and giving gesture from Shoshana occurred during the performance when I collapsed on stage, just moments prior to wrapping up near the finale. She stepped away, enabling me to take over and conclude the show, even though I struggled immensely. This marked the conclusion of my time on Broadway. Wicked I had to run, but before I left, Shoshanna brought me some flowers and gave me a wonderful farewell. To this day, I am still touched by what she did for me, as not everybody would go out of their way like that. I love her deeply even now because of that gesture.
It required six weeks for recovery, and I was scheduled to head out to do the Rent film. I felt uneasy about not performing well and feared that they might substitute me. This concern lingered in my mind. However, after going to London and participating, I relaxed somewhat. Wicked On the West End, I had an incredibly delightful experience that lasted six months. It really seemed to help me find some closure.
Talkback
On the inspiration behind Redwood :
I came across the concept that some individuals are known as live in the redwoods for long periods of time in order to protest the logging companies. I was fascinated by that. How it would feel to put everything down here and be able to go somewhere else completely different, completely far away. Would it feel exhilarating? Peaceful? Would it be terrifying? Then [I thought], “Would I have the fortitude and the bravery to be able to do something like that?”
That’s what inspired me at first. Then, the more I did research into these people, I fell in love with everything the redwoods are about. I really felt like the redwoods are the most beautiful metaphor for how we, as humans, should try to live our lives. This idea of rebirth and resilience and survival—their root system is a symbol of connectivity and togetherness.
There was something really special in that. I knew it wasn’t your typical musical affair. I brought it to Tina many years ago, who also had such a fascination for trees. We felt like this idea of a woman in a tree was something that could be really, really cool. Now, many years later, we’ve got it to the Nederlander. I am constantly floored by that.
On being back in New York after setting up home base in Los Angeles:
It's complex. It's exactly what I desire. I adore performing in New York theaters. I'm putting on a production that I've come up with myself. I had been dreaming of this opportunity for years, and now it has finally reached Broadway, where audiences appear deeply affected by it. These accomplishments are incredibly thrilling and fulfilling for me.
So, my spouse [Aaron Lohr] must remain in Los Angeles due to work commitments, and our son needs to travel between places regularly. This year we have decided to educate him at home so that he can manage these travels more easily. However, as he is a teenager, disrupting his daily routine is challenging. I really miss them both, thus we talk nightly via FaceTime. They were here during the opening, so I recently got to see them. Still, when my son says, "Mom, you only saw me three days ago," I feel that even those few days apart seem long.
The ensemble and team transform into your second family. My group holds a special place in my heart. Together, we've crafted something truly remarkable. I believe that producing an initial musical with others becomes a cherished part of your life forever. Additionally, since Tina Landau not only directs but also writes, she draws inspiration from each individual's essence and characteristics. A significant portion of everyone shines through in these roles.
Regarding why her latest theater productions have focused on new pieces rather than revivals:
Initially, numerous untold tales remain. In my view, there are countless composers whose work remains unheard, such as our very own composer Kate Diaz.
It's also about participating in the making of a brand-new musical. Rent , Wicked , all of these experiences have allowed me to stand beside pianos alongside Jonathan Larson, Stephen Schwartz, and Tom Kitt as they create new songs. Being present during their excitement filled with tiny sparks of magic is such a blessing for me. I cherish that creative process above everything else.
I enjoy how I get to portray a character that feels like an extension of myself due to the input from the talented individuals surrounding me. Their creativity inevitably incorporates elements such as my mannerisms, abilities, and flaws—traits they believe could highlight vulnerability and reveal aspects of me previously unseen. This level of personalization makes each role uniquely mine. Redwood Actually, Tina aimed to discover new hues, emotions, and settings within my voice—elements perhaps others hadn't noticed. She found it crucial to delve into these aspects and push me to achieve this.
Regarding her training process for singing and climbing trees simultaneously:
Being a Broadway musical performer feels akin to being an Olympian for me. Similar to how athletes train under their coaches, I practice vocals diligently too. When I've had a break from singing recently, I begin practicing several months ahead of rehearsals to regain my full vocal range. It's much like preparing for a marathon; building up stamina is crucial since performing eight times per week is incredibly demanding yet fulfilling. There's immense satisfaction reaching Sunday knowing one has maintained consistent performance quality through diligent upkeep. Successfully achieving this leaves me feeling genuinely accomplished and proud.
I engage in steaming, use a nebulizer, monitor my diet, avoid alcohol—everything like that. This is all due to your passion for what you're doing. The absolute worst sensation is stepping onto a packed stage and either hitting a wrong note or realizing afterward that you might have performed at your best if only you had taken better care of yourself.
On her Wicked cameo:
The highlight of the entire experience was spending time with Kristin [Chenoweth]; I mean, not that Cynthia [Erivo] and Ariana [Grande] weren’t great too. But working alongside her was truly amazing. Creating this lasting impact as a team brought us immense satisfaction. The camaraderie among all of us was fantastic. Portraying these absurdly funny roles allowed us to laugh at ourselves which was quite refreshing. Additionally, passing the torch to the next generation along with my co-stars within that environment turned what could have been an ordinary day into something incredibly special. Everyone treated both Kristin and myself with deep respect. This mattered greatly to Jon Chu; he ensured we left feeling genuinely appreciated. All things considered, it doesn’t get much better than that.
In cultivating spiritual growth Redwood :
Tina truly crafted the essence of this narrative. Although I'm unsure how she conceived it, she must have discovered tikkun olam [Hebrew for "repairing the world," a central motif in the series] independently. Personally, I wasn’t aware of it; perhaps I am not the best example of what being Jewish entails. The notion that humanity’s purpose is to mend the world is profoundly lovely. In our show, this concept fits perfectly since the characters are striving to rebuild their lives and rediscover happiness. Success varies among them in achieving this.
From a worldwide perspective, the notion of our planet declining and requiring nurturing, with everyone contributing to nurture what nurtured us, holds significant value. Should our program instill a passion for redwoods within viewers, perhaps it could motivate individuals to contribute positively or prompt governments to protect Earth better. However, those weren’t our initial goals. Our narrative centers around a personal journey—a woman navigating challenges in her life and experiencing transformation. Yet, achieving the ultimate success would entail inspiring others to feel deeply linked to nature as well.
Regarding whether the Los Angeles wildfires affected a scene in the series where redwoods catch fire:
I was thinking, “Oh, my God, what should we do?” I don’t want to be insensitive to people that have experienced this or tone-deaf in any way. Then, we realized that when you’re doing an original modern musical, usually something’s going to happen in the world that happens in your show because it’s timely. We also knew the fires in our show do not hurt any homes. They’re far away, and this woman is safe in the canopy. So we made sure that was apparent in the script.
I’ve had several people that have come and even lived in the Palisades that have lost their homes. I was really worried about it. But, they felt it was cathartic. They felt sad, but they felt seen. They felt like tikkun olam: “Okay, it’s time to rebuild, time to repair.” Some people may not be feeling that right now. Some people may just feel completely helpless and have given up, and that’s okay too. When the time comes, they will find something that will help them move and take the next step. That’s what I love about Redwood . It’s not judging anyone or shaming everyone. Everyone has their own time to figure out how to live through this life.
The interview has been revised and shortened for clarity.
Idina Menzel is presently starring in Redwood At the Nederlander Theatre. You can buy tickets here. here .
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