After a 20-year hiatus from the stage to raise her two sons, Tami Gordon Brody has certainly been making up for lost time over the last five years. Upon the urging of her son Taylor, who is also an actor, Tami embarked on her first audition in two decades; Haddonfield Plays & Players’ 2011 production of Titanic and was cast as Charlotte Cardoza. Since then, she has been lucky enough to portray some of musical theatre’s great “women of a certain age” roles. Golde in Fiddler on the Roof, with Voorhees Theatre Company, Joanne in Company with Cumberland Players, Carmen Bernstein in Curtains and most recently Mother Superior in Sister Act, both at Haddonfield Plays and Players. She’s also taken on some “strictly acting” roles, such as Harriet, in Arthur Miller’s Broken Glass at South Camden Theatre Company and Reba Freitag in The Last Night of Ballyhoo, at HP&P. Up next, Tami is thrilled to be working with director Craig Hutchings in the Ritz Theatre production of Disney’s Beauty and the Beast in the role of Mrs. Potts.
In the course of “making up for lost time”, Ms. Brody kindly offered her time to be interviewed on 6/7/17. An edited transcript of our conversation follows.
Critique Compendium: What first interested you in the performing arts?
Tami Gordon Brody: When I was young my father worked in the record business. He was head of promotion for Columbia. I took singing lessons, but my voice wasn’t suited for pop music. When I got a little older I discovered musical theatre while at Cherry Hill High School East.
Critique Compendium: You’ve said that you’re “making up for lost time” in terms of your performance schedule. What motivates you to be so active in community theatre productions?
Tami Gordon Brody: What do you do after work? Some people play tennis. I do theatre. I love doing it. When I leave work I get to be the actress.
Critique Compendium: From looking over your resume, it seems like you’re equally comfortable performing in either musicals or playing strictly acting roles. Which do you prefer?
Tami Gordon Brody: When I was younger I would’ve said musicals. My background is in musical theatre. I was a singer who acted. There have been some directors who have helped build my confidence as an actress. While I prefer musical theatre, acting challenges me more. I enjoy the challenge of it.
Critique Compendium: You’re a very talented vocalist. Who influenced you musically?
Tami Gordon Brody: I’d have to say Barbara Streisand and Ella Fitzgerald. Every Jewish girl loves Barbara. (Laughs.) Ella had such a pure, rich voice.
I have other performers I look to now for inspiration such as Victoria Clark, Christine Ebersole and Bernadette Peters. Bernadette Peters was the ingénue when she could be the ingenue. I’m finding that there are many amazing roles for “women of a certain age.” Musical Theatre is one of the few mediums where you don’t get replaced by younger actors.
There’s a show on Broadway now called War Paint. The two performers leads in it (Ebersole and Patty LuPone) are both women over 50.
Helen Mirren is another example of that type of actress. There are amazing roles for “women of a certain age.” I think you really need to have lived a life to play them.
Critique Compendium: Do you feel that you’ve matured as a performer when you play these roles?
Tami Gordon Brody: My priorities are different than they were when I was in my 20s. Now I pick and choose what I want to do.
When I was younger performing was about attention. Now it’s about being part of a bigger thing. It’s about telling a story. I’d rather be part of a strong cast.
It’s great having the opportunity to become someone else. Theatre is ageless.
Critique Compendium: If I could return to the subject of your vocal talents. You’ve done voice overs for the Special Olympics of New Jersey, Karl’s Baby and Children’s Furniture (in Philadelphia) and JCCA Maccabi Games. How did you get into that field?
Tami Gordon Brody: Karl’s is my big claim to fame. (Laughs) My ex-husband is a filmmaker. He asked me if I’d be interested in doing some voice over work. To do it I needed to lose my Jersey accent! It’s a different kind of medium. They want you to say things a certain way. After recording they speed up the track to eliminate the pauses. It’s very unnatural. So in that sense it’s much different than theatre.
Critique Compendium: What kinds of things interest you in playing a role?
Tami Gordon Brody: Sometimes, it’s the story. For instance, Parade was an important story. In that show, I played a Senator’s wife. Although it was a smaller role, I got to be part of it.
Then there was Mother Superior in Sister Act. Roles like that one really gives you a chance to create a character.
I look at the way the character is written. Of course, you have to be practical about how young you can play.
It has to be something I’m going to enjoy doing. I also like roles that are a challenge emotionally, such as Joanne in Company. I wanted to find out why she was so angry and drank. I wanted to convey the character’s emotions. It’s important to make the audience feel.
Critique Compendium: How do you handle an audience that doesn’t feel?
Tami Gordon Brody: Every audience is different. You get different reactions from different crowds.
A performer must listen to the audience. It’s important to be mindful of their responses. Timing is important to allow them to react. Sometimes, you may get the same reaction to a line or a moment on stage and you come to expect it. Then you’ll get an occasional audience that doesn’t react the way you expect.
Critique Compendium: What’s been you’re favorite role that you’ve performed so far?
Tami Gordon Brody: Oh, Joanne in Company. But I would love to play Golde in Fiddler again. Both are iconic roles. I do enjoy playing flawed characters better than playing ‘normal’ ones. Some are just fun though.
Critique Compendium: Why?
Tami Gordon Brody: My Jewish upbringing. My great-grandfather grew up in a village in Russia just like Anatekvah . Golde is the character I’ve played that’s the closest to me. It was very personal.
Although, I’ve loved all the roles I’ve played. I learn things about other people by playing different characters. Some aren’t like me at all. I like learning about people and cultures. Now, in Beauty and the Beast, I’m playing an animated character.
Critique Compendium: What’s the most difficult role you’ve played?
Tami Gordon Brody: Harriet in Broken Glass. That was my first straight acting role. The caliber of talent in that show was unlike anything I’d worked with before. I had to reach. It’s good to have to reach. It was hard work. I wasn’t going to be able to rely on my singing. Until then, I was more insecure about acting than singing. Although, you don’t want to see me dance. (Laughs)
Critique Compendium: First, allow me to wish you a belated Happy Mother’s Day. You had the experience of working with both your sons, Taylor and Evan, in: Parade. You and Taylor will be sharing the stage once again at the upcoming production of Disney’s Beauty and the Beast at the Ritz Theatre Company this summer. What was it like sharing the stage with your children?
Tami Gordon Brody: Amazing! It was the greatest experience! I’m so proud of them. They’re so talented. They’re so much more advanced than I am vocally.
Taylor and Evan got the bug. Taylor (to Ms. Brody’s left in photo) was in Fiddler on the Roof with me too. Evan (to Ms. Brody’s right) will be playing Kenickie in Grease this summer in Blackwood.
Unfortunately, (because of our theatrical schedules) sometimes we can’t always see each other’s shows. Theatre is something we share. We can lean on each other and help each other. It’s great to have this shared love with my children.
My boyfriend Glen is also an actor, and it is something that I can share with him as well. We all understand the commitment that goes into doing a show – which is a wonderful thing.
Critique Compendium: What performers have influenced you?
Tami Gordon Brody: I’d say Meryl Streep, Kevin Spacey and Helen Mirren. They can really transform themselves into different characters; and they don’t need accoutrements to make that happen.
Critique Compendium: If you had the opportunity to work with any other actor either living or dead, who would it be?
Tami Gordon Brody: I’d love to work with Meryl Streep, Glenn Close and definitely Nathan Lane. His comic timing is amazing. These are people I could learn from. When I was younger the answers might not have been the same. Back then I would’ve been interested in their “star power.”
Critique Compendium: In addition to your busy performance schedule, you’re the Vice President of Haddonfield Plays and Players. What inspired you to take on a leadership role with that organization?
Tami Gordon Brody: I did two shows with them (Titanic and Full Monty). Dave Stavetski (the President of HP&P) got me to go to a meeting. I helped out with creating the posters in front of the theatre. Now that I am on the board, I handle the playbills, social media, media and advertising. I’m happy to give back to them. We have an amazing leadership team. They’re a really great group of dedicated people.
Dave is very civic minded. He’s very involved in sharing the arts in South Jersey.
Our space allows for the ability to do shows that other people can’t do. For instance look at (director) Matt Weil’s innovative use of space in The Pillowman. You wouldn’t see a show like that in a larger theatre.
We have a successful StageKidz program. Last year, we switched to a five show season. We used to do seven shows. This gives us more production time for each, mainstage show. It also allows us to provide additional special programming – like our annual production of Number the Stars, as well as our successful cabaret series. Whenever I perform I think, “Look at how much I’m getting.” Being involved with HP&P gives me the satisfaction of giving back. You make connections with the other performers. Creating lasting relationships. Community theatre in South Jersey is getting stronger and stronger. So many theatres mean more opportunities for actors. There’s a lot of talent down here.
Critique Compendium: How do you balance a career, family and other activities with the demands of performing in community theater productions?
Tami Gordon Brody: When I’m at work I focus on work. It all comes down to time management. Theatre teaches it. It helps with other aspects of my life. It’s a responsibility.
Critique Compendium: How do you prepare for a role?
Tami Gordon Brody: I write the lines on index cards. I use them for memorization. It’s all about time management. I’ve got the instrumental rehearsal tracks of Beauty and the Beast in my car. I sang it on the way over here.
I know I need to do my homework. I need to get past my frustration and learn what I need to know. Then I don’t have to worry about it. I need to understand the character. I need to be prepared. Sometimes it entails not only knowing my lines, but that of my fellow actors as well.
It’s not always easy to do theatre. It means something different to everyone. I’m very proud of what I do. The roles that satisfy me the most are the ones where I work the hardest.
You have to live up to the role. Golde and Joanne are iconic roles. People expect it to be a certain way. I also want to be as good as my fellow cast members. I do enjoy playing flawed characters better than playing ‘normal’ ones. Some are just fun, though.
Critique Compendium: This is the first time you’ve worked with director Craig Hutchings since you played Harriet in the South Camden Theatre Company’s production of Arthur Miller’s Broken Glass. What’s it like working with him again?
Tami Gordon Brody: Craig is an “actor’s director.” He’s always looking at the acting. He gives notes and character suggestions. To him, the lyric is just as important as the dialog. He brings depth to the characters.
Critique Compendium: What’s next for you?
Tami Gordon Brody: After Beauty and the Beast I’ll be taking a rest. I would love an opportunity to assistant direct next season. I’m hoping to be as versatile as some other theatre people. But, I like performing more. If the right role presented itself, I would definitely audition!
I can honestly say if I didn’t have theatre I’d be half a person. I don’t know what I’d be doing without it.