Future Classic Women Awards – Jennifer Tierney 101022

Hello and welcome to Future Classics Women Awards with me, Stefania Passamonte, on Women's Radio Station, the program where we search for the most amazing female artists on the classical panorama. Today on Future Classics Women Awards, we will be talking to a very special guest, Jennifer Tierney, a British actress and mezzo-soprano who's currently on the Phoenix Theatre in the West End for a leading role in Come From Away. Good morning, Jennifer. Good morning. Thank you for having me. You're very welcome. Very excited to talk with you. I saw you live at the Phoenix Theatre in this incredible musical that is Come From Away. Would you like to tell us about this? I mean, I know it's going to go on all the way till January and you're doing more than the leading role. You're doing so many. How do you know all the roles? Oh yeah. So, so I mean, so yeah, the musical is— the story is based on a true story. And when it sounds like an odd subject subject for a musical, but if your audience bear with me, when 9/11 happened, all the planes had to be diverted to various different airports, and 38 of those planes were diverted to a small town in Canada called Gander in Newfoundland. And our story takes place on the 5 days that follow that day, which was obviously a really awful day in our history, but our story is full of positive stories and good things that came out of that terrible day, and it's It's a story that reminds us of kindness and what good can come from humanity, really. It's a really special story, and everything about it is completely true and verbatim and taken from hours of interviews. So it's a very special story. Yeah, it's amazing. I mean, I didn't know it was actually from a true story. I thought it was taken from, in general, from what happened. At this moment, I had the lady on the road just in front of me that started sobbing terribly, and I thought, oh my God, and everyone started crying, and I thought, luckily this is not a true story. And then I was told, no, actually it is. Like, oh my gosh, then I would have been crying exactly the same. I mean, that was such a dramatic moment. I think everyone remembers where they were when, uh, the 9/11 happened. Do you remember where you were? I do, yeah. And actually, interestingly, in the beginning of rehearsals, that's the first thing we started with, was when we were sitting at table talks and the director went around the room and asked everybody, so let's talk about where you were and what you remember of that day. So yeah, I was, um, I was 21 years old, and my mom had come to visit me in London. I'm actually from Scotland, but I'd moved to London when I was young to train in performing arts. And my mum had come to visit me and my dad was on his way down on the train from Scotland and called us to say, try and get to a television and have a look and see what's going on. There's some rumors on the train that something's happened in New York. And then everybody, we went to the local pub because that was the only place where they had TV screens that were close by and had a look. And it was like watching a TV. And at this point, Sorry, like watching a film, I beg your pardon. And yeah, you know, and the towers were just in front of us with smoke coming out of them, and I was looking at it and I just couldn't comprehend what was happening anyway, because we obviously— people started then saying, well, you know, we're in London, let's, you know, we should probably get out of the city or go home or whatever. Oh really? Yeah, I think people were starting to worry about what it was. Panic. Yeah. So we went to my house, went home. And turn the TVs on there. And then, and I remember very vividly my mom saying, you know, Jennifer, this could mean another war. And I had no comprehension of what that was even a possibility. So, and I had friends in America as well because I'd worked on cruise ships prior to that time. So I had a lot of friends that were based in America. So I was trying to get hold of them on the phone and couldn't, you know, obviously all the— this was at the time where, you know, before social media and stuff and before the mobile phone with the camera on and Spotify. I mean, Facebook and everything. Yeah, exactly. Nowadays when something like that would happen, you would just post yourself as being, I'm okay, and somebody would see media, but couldn't get through to anyone. So I had friends living in downtown New York and I had no idea if they were okay or not. Thank God. Um, but yeah, so it was, uh, I definitely remember that day very poignantly. And there's a couple of parts in the show where sometimes it flashes back, you know, where you kind of think, I remember this moment so clearly, you know. So yeah. Yes, and I can't think about the terror of those people on those planes. And really, whatever happened, no one thought about that, that no more airplane could go to New York. And being on a plane in that moment, or due to go to New York and being actually in another plane, I mean, the whole story is just such a horrible chapter in our history. We did have, you know, our piece of terrorism in London as well. I remember when we had the bombing in Newston and St. Pancras, and I was due to be there. Luckily, I slept too long. Oh goodness, wow. I slept too long. My alarm didn't go on, and because I was studying at Royal Academy of Music, so So I was coming from South London. I would have changed train there. And I had friends that they had exams that day and they didn't know what was happening. And all the bridges from South London to North London were blocked. And this opera singer friend of mine, he just pleaded with the police. He says, "Absolutely, I need to go to school. I have an exam, please let me go." So he walked all the way running because he wanted to be there in time. And then he got stuck, of course, in school because no one was allowed to come out anymore. You know, there was these crazy messages, you know, at the radio and television saying, if you can stay home, do not go out. Yeah, I know. And I think the thing is with Come From Away is that when, you know, when all this, all these terrible things happen in the world, I think when people come to see the show, I think they're just reminded that even out of something so traumatic and such a tragedy, and so much loss and grief and all the awful things that took place that day, actually there were some great things that came from that. So I mean, it's a story of not great things as in, you know, it— I should probably— can I go back on that, Stefania? Sorry. No, but I know what you mean. I mean, people have been, uh, they just got together. And, um, what the— I mean, I can see that as well today with the war in Ukraine. I've been very much involved with that in trying to save the students from my music conservatory and, um, getting students out, you know, talking with them while there was the sirens of the bombing. Um, you know, the truth is, um, there is a lot of good in the world. There is a lot of good in people. There's just very few mad. And I think, I think though that it's sometimes— I think I've realized in the last few years in particular, and especially, you know, with 9/11 and all the various things that are going on in the world, even right now what we're living through, you know, it's what we do as humans to pull together and how we can make a difference, how we can make a, you know, a positive change. You know, it's, it's a— I think you have to pull together and you have to be selfless, you know, and I think that the world has just become a little bit selfish and not even a little bit, fully selfish. And everyone's, you know, and I think what our story reminds people of is that actually, if you pull, if you pull together and put others first, some good can come of it, you know, and the relationships that were made in Newfoundland because of this story and this awful tragedy, but that's how they all met. They've got lifelong friendships and, you know, and, you know, great relationships that have remained so solid in their lives, you know, and it was life-changing for many of those people. And I've had the privilege of meeting all those people as well that we get to talk to. Oh, really? Oh, wow. And they really are just, you know, very normal, you know, grounded, down to earth. You know, they're just very, very honest, hardworking, just want to do the best by people. And I think it's a great reminder to all of us that actually that's what makes the world tick, you know, and the rest, you know, we can just all pull together and get through it, you know. Yeah. We don't have a recording of this musical today, and that's because we want all of you that you're listening to actually go to the West End and watch it because it's phenomenal. The settings, I mean, I'm always so blown away by musical theater stage direction. And, you know, with just few chairs, you are absolutely there. You know, you can see the airplane, you can see the library, the town hall, the mayor office, and everything. It's just fantastic. So do go and watch it. But we're gonna start today actually listening to your recording of Glasgow and Rainbow Connection from the movie Wild Rose. So you're gonna tell us a little bit about this as Afta. Okay. I've worn out the stone in front of your doorstep. Coming and going, coming and going. You kept the lights on. I always knew that I should have said thank you. A thousand miles ago. But I pushed you away, put a pin in a map. Then I got lost in the storm. Had to find my own way, make my own mistakes. But you know that I had to go. Ain't no yellow brick road running through Glasgow, but I found one that's stronger than stone. Ain't no place like home. Ain't no place like home. Moon hanging low over my window, shoebox of dreams hid under my bed. Follow the bright light, city of gold. I had to leave to realize all I needed was here. Mama, we both To know that there's nothing that a little time and Patsy Cline wouldn't fix. Had to find my own way, make my own mistakes, but you know that I had to go. Ain't no yellow brick road running through Glasgow, but I found one That's stronger than stone. Ain't no place like home. Ain't no place like home. I just click my heels 3 more times. There it all is, what's always been mine. Ain't no yellow brick road running through Glasgow, but I found one that's stronger than stone. Ain't no place like home. Ain't no place like home. Ain't no place like home. Home ain't no place like home. Why are there so many songs about rainbows and what's on the other side? Rainbows are visions, but only illusions. And rainbows have nothing to hide. So we've been told, and some choose to believe it. I know they're wrong. Wait and see. Someday we'll find it. The rainbow connection, the lovers, the dreamers, and me. Who said that every wish would be heard and answered when wished on the morning star? Somebody thought of that, and someone believed it, and look what it's done so far. What's so amazing that keeps us stargazing? What do we think we might see? Someday we'll find it, the rainbow connection, the lovers, the dreamers, uh, me. Someday I'll wish upon a star and wake up where the clouds are far behind me, where troubles melt like lemon drops away beyond the chimney tops. That's where you'll find me. I've had it too many times. To ignore it. I know where I'm supposed to be. Someday we'll find it, the rainbow connection, the lovers, the dreamers, and me. How beautiful! Wow, I really love this song. So this is Glasgow and Rainbow Connection from the movie Wild Rose. Would you like to tell us something about this? Yes, absolutely. It was— so recently I did my own one-woman show at a venue called Piano Smithfields, and I was putting together songs that I really wanted to tell a story about my life up until now. And so this one was No Place Like Home, connected to a young girl from Scotland who had a dream of being a country singer. But also it was connected in the way that I was in Wicked 10 years ago. 10 years ago? Yeah, about that now. Just over that. And it was my first West End show. And so I wanted something to connect to The Wizard of Oz and Wicked story and things like that. So, and I wanted to put the rainbow connection in there because there's a little bit that comes after what we've just played that goes into Somewhere Over the Rainbow as well. So it was kind of just a little bit of a connection to home and, you know, wanting to pursue a dream and, you know, but leaving home and what that meant to me as a young kid, really. Well, exactly. So I'd like to ask you about this. I mean, how did you decide and when did you think you could become a, you know, a leading star of the West End? In the musical theater and, you know, and have the career that you actually have? Well, I mean, I started off in the local dance school, really, like most kids in my local area. My mum and dad put me into local dance school just to get me out of the house, I think, on a Saturday. It's something I'm thinking too, as well, for my daughter. Absolutely. And it became— it was such an important thing for me as time went on. And I remember my teacher saying to me when I was about 13, look, you know, if you want to do this, we should start thinking about it now. Because when you're a dancer, you train very young. You know, you have to— your body only lasts a certain period of time in the professional world. So we had those discussions quite young. And then I went to college to train as a dancer when I was 16 and then started to sing really while I was there. I never sang in public until I was actually at college. So I'd always sung to music when I was a child, you know, with my mom in the car and things like that, you know, like pop artists and things. And but I'd never really done it. I'd never had confidence in singing. I didn't really know what I was doing or how to do it. But then when I went to college, I actually got injured and I had a knee operation. And they said to me while I was there, look, you can either stay and work on your singing and your acting or leave and come back when your knee is fully rehabilitated. So I decided to stay. And thankfully, I think that was the best choice because I don't know if I would have gone back, to be honest, because a young girl at 16 leaving Scotland to go to London by herself, I think it was already a big move. So I'm glad I stayed and I had a lot of support and lots of opportunities. And it was, it was a really, I was very lucky to have good people around me that, you know, that supported me. And yeah, and that was it. I ended up going into musical theater because I ended up singing more. That is amazing. I mean, but I think, you know, musical theater is like the most complex art of all where you have to combine all these things. You have to combine dancing, singing and acting. Of course, when you see a musical, there is some parts that are more for the singer, if you like, or some parts more for the dancer, but you have to have skills in everything, isn't it? You do, absolutely. I mean, they use this term triple threat quite, um, quite frequently in America, you know, where it's about you have to be solid in all three disciplines: singing, dancing, and acting. Wow. And it's, you know, and it is You know, some people are stronger in one discipline, but then, you know, I also teach, so I feel like it's important that where someone feels less confident in another discipline, that they build that strength, you know, so that they are the triple threat and that they can, you know, be— this is a terrible term, but it's very true— be useful to the industry, you know, because if you're only good at one thing, you're not really gonna have much success in musical theatre. You know, you really do have to build on all three disciplines. So yeah. But do you, I mean, going back to you being 16 years old, you know, coming down to London from Glasgow, you know, and taking this leap of faith in a way, because it's such a dedicated career. It's not that you train to be a musical theatre artist and then suddenly you can go into being a secretary, for example. Although you're a secretary on stage. Yeah. You might be all the jobs on stage. You don't really have all those skills. So how was it? Was it scary? Were you sure you would have made it? I mean, even the West End, if you think about it, is like the best place in the world here together with Broadway. So there is really very few artists that they then get the leading roles and they make a, you know, a living out of it. Absolutely. It's a, it's a really, um, it's a really difficult industry to be a part of because even when you have, like, you know, I'm very lucky that I've had I've had some great opportunities and great work experiences, you know, different shows that I've been a part of, but it doesn't necessarily mean that I'll, you know, go on to another show straight away. You know, it's still very up and down. And I think, you know, yes, it is very scary, the industry. I mean, we're facing it now, you know, our show sadly is closing in January. And, you know, I'm literally having these discussions with my agent right now about, okay, what's next? What do I do now? And, you know, trying to make the right career move. And, you know, I'd like to not— because right now I come from away, I'm a cover, I'm a standby, so cover all the female roles. And I'd like to come away from covering now because I've spent 20-odd years doing that, you know. So it takes a lot of, I don't know, I'm going to say bravery in the week. Absolutely. It's just to say no to things because, you know, when you get pigeonholed in a certain way and I love covering, I absolutely love the job. I love the versatility of it. I love the, you know, being able to, you know, play lots of different roles and all those things. It's been an amazing opportunity for me, especially at Come From Away, covering all 6 female roles. But at some point, you know, you need to make a decision to kind of move away from certain things if you want to. So, yeah. So I think that there's lots of decisions, especially when you get to a certain stage of life, you start thinking about what do I actually want from my life as well? And, you know, so, yeah, so it's been an up and down, you know, an up and down career. It's been 23 years I've been doing it professionally and I've had times where it's been really difficult and it will be for everybody that's out there. You know, I say this to my students all the time. Don't expect it to just come, you know, to be in front of you and, you know, and to just happen and click your fingers and it be there because it's not as easy as that. You know, it takes a lot of drive, a lot of commitment, a lot of self-motivation. And, you know, and you really have to be quite stubborn to stick at it until it works. You know, absolutely. And, you know, determination, that's exactly the word. And also, I mean, what is amazing when you, when you are a cover and you have to do 6 roles, I mean, normally the leading character just to learn his part or her part, isn't it? You have to learn 6 parts by heart and be ready any moment to just jump on stage and do it. So I think you're doing a bigger job than any other on stage in that moment. So it's, it's a very difficult— it is, it's a mentality as well, you know. And also, especially at Come From Away, it's, you know, it's all 12 actors on stage are leading actors. So It's not even just a normal kind of job where, you know, if you were a swing in and out, yeah, you could just, you know, do the same choreography. I mean, that's equally got its challenges as well, but because we're playing leading roles as well, you know, we have to slot in and we don't want the audience to know that we're not always doing that particular role, you know. It needs to be seamless and I really try my best to, you know, to hold that same caliber in every single role that I play, you know, so that it does have the same effect. And, you know, you want to feel a part of a company that, you know, of leading actors, and you want them to— you know, we get so much support and love from the onstage cast, and that in itself makes my job easier. Because if we had people around us that weren't supportive, you know, you'd be dealing with confidence issues then as well, you know. So, yeah, so it's tough, but I love it. I love it. It's fantastic. Well, the next song actually we're gonna listen to, it's from a musical, it's from Jekyll and Hyde, and it's Someone Like You. I peer through windows, watch life go by, dream of tomorrow and wonder why. The past is holding me, keeping life at bay. I wander lost in yesterday, wanting to fly but scared to try. But if someone like you found someone like me, Then suddenly nothing would ever be the same. My heart would take wing and I'd feel so alive if someone like you found me. So many secrets I've longed to share. All I have needed is someone there to help me see a world I've never seen before. I love to You opened every door to set me free so I can soar. If someone like you found someone like me, then suddenly nothing would ever be the same. There'd be a new way to live, a new life to love. If someone like you found me, oh, if someone like you found someone like me, then suddenly Nothing would ever be the same. My heart would take wing and I'd feel so alive. If someone like you Loved me. Loved me. Loved me. Wow, and this was from Dr. Jekyll and Mr. Hyde, Someone Like You. Now, Jennifer, which one was your favourite role, if you have one? I know it's a difficult question. Yeah, I mean, across my career, I would definitely say that Come From Away has been the biggest challenge of my life, and, you know, just all the different, you know, the versatility of playing all these roles and wanting to honor that these are real people and real stories. But I think I have love for all of the characters for different reasons. And like, I love playing Captain Beverly Bass, who's my— who's the role I play more often. She's my first, one of my first covers. And because she's, you know, she was such a trailblazer. She was the first female pilot for American Airlines in 1986. And, you know, just very strong, what she dealt with that day and what she would have dealt with in her life trying to fit in among you know, a male presence in that industry must have been incredibly taxing. And I just really admire her. And I also love playing Diane because she's got a lovely storyline. I won't give it away for your listeners. The show, they might not know, but she has a lovely storyline in the show and, you know, really lovely scenes and a lovely scene partner to do them with. So yeah, I think I've had lots of them, lots of joy playing all the roles at the show. But I would say probably if I had to choose one, probably Beverly Bass. For sure. Yeah. Well, just to let you know, there is plenty of moments where you're actually laughing as well. It's fantastic, the combination of humor and drama and joy and love. So there is a lot, and hope. It's incredible how you concentrate, you know, so many feelings all together in just a short time of, you know, period of time. That is the length of the show. Yeah, it is. I mean, that's the thing. It's like when people ask about— they don't know what the show is about and you say it was a show based upon when 9/11 happened, they go, oh God, that must be, you know, it must be really sad musical. And there are moments that are incredibly poignant, as they should be, you know, because of the story. We have to honor that. But there's so many laughs and so many great moments as well. You know, it's a feel-good musical. It's not— it's definitely— you're going to leave the theater feeling, you know, that you've had a really wonderful night. I don't know if I can give it away, but one of my favourite characters was the sex secretary. Oh yeah. Oh yeah. Now let's not talk about it. You just need to know that it's called like that. Go watch it. Wonderful. And if you had a dream role that you would like to play? Hmm. I would love— there's a couple actually, because now, now in my mid-40s, I'm getting into this casting bracket. So there's a couple that I would like to play and I would love I would love to play Mrs. Wilkinson in Billy Elliot. That's one that I would love to do. Mrs. Johnson in Blood Brothers. And also I did have the opportunity to play this role for a company called Royal Caribbean Cruises. They do Broadway musicals on board. They did Mamma Mia! and I went and played Donna for them out there. I would love to do that in the West End someday. Oh wow. It's definitely a show that I feel like I need to go back to. I've done it twice now in different ways. I feel like I'm getting lucky. You know, actually Blood Brothers it was the first musical I saw when I came to London as a student. I had some friends that they were working as masks in the theatre, you know, when you're a student that's a job that you might do if you're a musician. And of course that's the same theatre that we're in. Exactly, that's exactly where I saw it, so I was in a way going back and that happened exactly 20 years ago. And so I arrived in 2002, so 2001 I came to do the audition at Royal Academy of Music and took the plane and I was I was scared, so scared, because it was my first time taking a plane as well. And, and I arrived on 9/11 here in 2002. And so we had this minute of silence, and I couldn't understand anything of what they were saying. And so I was just like, wow. Yeah, yeah, the Liverpudlian is so— it's such a thick accent. Yeah. And then they, and then they said, so this was a minute of silence. I said, oh no, we've been talking. So then we were talking, saying, oh no, we were talking. And they had another minute of silence, and we I didn't understand there was an anime there. I said, oh, that was just incredible. Very— goodness. Yeah, special moment. And I did go to New York like 2 or 3 years later, and I was so amazed. I went to see Ground Zero. I mean, I didn't want to, but my friends from New York, they just told me that you have to see it. So it was really important things to witness, you know, with your eyes. But the city was just phenomenal. It was so welcoming. It was so— I lost my phone. I remember I had this brand new Motorola, you remember at the time? One of the best, the flip phone with the camera, and I had the short video on it, and I lost it, and I thought I'm never gonna find it again. Instead, someone found it and gave it to the Juilliard. You know, I was invited to do an artist audition. At Juilliard. So I found it okay. There you go, there are good people in the world. Very slightly. Yeah, absolutely fantastic. Okay, so if instead, if you had to think about the most challenging moment in your career? Wow, goodness. I think it would have been, um, yeah, definitely when I did a long run in Wicked. I did almost 3 years in that show and then when I left I just I felt like I was a bit burnt out from— and I just started to go to auditions and just— I started going through this period of feeling very anxious at auditions and I just wasn't performing well. And then I did this event, it was a concert and it was an album launch for an American composer who kindly asked me to come and sing a couple of songs. And the only way I can describe it was it was like I had stage fright and it was like I was talking to myself, telling myself how terrible I was whilst I was singing these songs. Yeah. And I came off stage that night, went home and phoned my partner at the time and said in tears, and she said, I'm never setting foot back on stage again. And I really meant it. And that's when I found teaching, because I just felt like that period of my time, I can't put myself through that anymore. And I still struggle with confidence sometimes now. The way I get round that is by really doing the work and and preparing. And, you know, so I work really hard at, you know, doing line runs and working on my accent and working on, you know, making sure I know what I'm doing in the show. Because at least I know if something happens that isn't, you know, that goes wrong in the show, at least I know I've done all the work I can do to feel, you know, to say, well, okay, these things happen. Absolutely. But yeah, you know, but so then I stepped away from the industry for about 4 years. Wow. And it was meant to be forever, but then my personal circumstances changed and I got offered a performing opportunity opportunity. Um, and I was like, right, well, let's try this again. And thankfully I did. 10 years later, I'm back doing it again in a show that I absolutely love. So yeah, wow, I think that's probably— yeah, that's an amazing story. I mean, um, it is a big problem, mental health, as well in, uh, in the music business, in the show business, if you like. And, uh, you know, stepping on stage and, uh, performing in front of a big audience in any situations, you could be sick and and you still have to go on stage, you've been traveling, you're, you know, jet-lagged or anything, and you can't just say, oh, sorry, or something happened to you personally and you can't just say, oh, you know, I can't go on stage. So sometimes, you know, there is a strong contract as well behind. So it's a very, very difficult industry, but you're right, you know, teaching and showing these, now there is much more awareness Yes, so there is more courses. We just started the course, for example, at my conservatory, the London Performing Academy of Music, in psychology of the performance, where you can teach the students to understand how you work on stage, how you prepare mentally and physically, you know, to go on stage and give your best. And then of course you have to also have faith in your own talents and the fact that you've been— and the honesty of having worked as much as you could and as you should do. And then yes, Things happen. Absolutely. Yeah, absolutely. And I think it's such an important discussion. It wasn't a discussion when I was at college, you know, and you're probably the same. Yeah, I was training, there was no discussion about mental health. In fact, you were told to get on with it, you know, so you had to bury every emotion that you were feeling. And yet you give so much as a performer, you know, when you stand on stage, it's such a selfless thing in many ways. It's, you know, people think we're attention-seeking, I think, but I'm sure when understood. If you're having the worst day of your life and you still have to stand there with a smile on your face and not let the audience know. I mean, you know, that term, the show must go on. Yes, it's valid, but ultimately we are human beings attached to all these roles as well. And it's so important now that there's so many, so much, there's so much more discussion about mental health, and especially with young people. I'm very passionate about it. I actually did, during the lockdown, I did a counseling skills, um, course. Um, so, and I'm gonna carry on with it. I did my level 2, I'm going to do my 3 and my 4 because I just want to be a better teacher to understand how people's mental capacity works so that we can make the best of them when they go into the industry, because it's such an important thing for me and for them. Absolutely. Well, um, you know, the pandemic has been catastrophic as well on mental health and, uh, for the show industry, you know, the showbiz. Um, so I'm sure you, you had to deal a lot with these as well, with students and with French performers, you know, suddenly all the theatres were closed or anything, and I remember Cinderella had to postpone the debut I don't know how many times because all the members of the group were getting— of the cast were getting the COVID So yeah, I think that's the thing. I think for us it's like, because what we do, and you know this has been, you know, being an artist yourself, is you have that it's such a connection, it's such a part of us. And so when it's taken away, it feels like part of our identity is gone. So that's also what makes it hard when you're not working in the industry in a normal day, because you miss it. It's a part of how we tick, it's a part of who we are. But then when COVID happened, that 18 months of where everything just stopped was absolutely horrendous for people. But then also coming back, myself and various other friends and colleagues of mine, we were all so scared. We're like, are we going to remember how to do this? Are we A lot of us suffered with confidence from the outset, especially the standbys that come from Away. You know, we were— I mean, this is crazy to think about now, but we were all bubbled away from the cast, so we weren't even allowed to mingle with anyone or rehearse with anyone. We just had to go on and do it. So I did. I played Beverly Bass for the first time without a rehearsal in 18 months because we just had to do it, you know. So it It was terrifying, but equally it was so— we were so thankful to be back on stage, you know. But yes, it is. The pandemic has certainly done damage in many ways, and mental health for sure is a huge part of that, you know. Well, the next song we're gonna play is from Barbra Streisand medley from A Star Is Born. That's another incredible movie about, you know, mental health and the struggle to go on stage and everything. How, you know, is this something that you really— that is dear to you? Or— Yeah, absolutely. A Star Is Born for me is— it's one of the best stories ever told, I think. And there have been so many icons that have— that have played these roles, like Judy Garland. Yeah. Barbra Streisand. And, you know, this is terrible, but there was another film that was before that who's— and the actress's name escapes me now, but it's one that's not so known. But also the recent one with Lady Gaga. And I just, I think that the story is so poignant and important that it is, it's about how, you know, even when you, exactly what we've just talked about, even self-destructive mode, you still have to get on stage and do your job, you know? But also I'm just, I'm a huge fan of Barbra Streisand. Oh, you tell me. Yeah, I absolutely adore her. And so there was, there were so many reasons reasons for songs that I chose in my one-woman concert that I did, but this was genuinely just because I'm a fan of her music and also that I love A Star Is Born as well. It's just, um, it's— I think all the soundtracks are gorgeous. Did you go to see the concert that she did at Hyde Park? I didn't, unfortunately. No, I wasn't in London. It was the birthday of my sister, she turned 40, so as a present we brought her to see Barbra Streisand. It was a cry after a cry. It was phenomenal. So let's listen to A Star Is Born medley from Barbra Streisand performed by our own fantastic singer Jennifer Tierney. Love, soft as an easy chair. Love, fresh as the morning air. One love that is shared by two, I have found in you. Like a rose, Under the April snow. I was always certain love would grow. Oh, love, ageless and evergreen. Seldom seen by two. You and I will make each night a first, every day a beginning. Spirits rise and their dance is unrehearsed. They warm and excite us 'cause we have the brightest love. Two lights that shine as one. Morning glory and the midnight sun. Oh, time we've learned to celebrate. Time won't change the meaning of one love, ageless and ever, ever. Memories, like the corners of Misty watercolored memories of the way we were. Scattered pictures of the smiles we left behind. Smiles we gave to one another for the way we were. Can it be that it was all so simple then? Or has time rewritten every line? If we had the chance to do it all again, tell me, would we? Could we? Memories may be beautiful, and yet what's too painful to to remember. We simply choose to forget. So it's the laughter we will remember wherever we remain. The way we were. The way we were. The way we were. And this was Jennifer Tierney performing Emmett Lee from Barbra Streisand's A Star Is Born. Very beautiful. Now I would like to ask you, which one is your favourite singer or performer from the West End, you know, from the musical theatre? Someone that inspired you, that you watch when you're thinking, you know, about preparing a role or something something? Oh, wow. I mean, I've been very lucky to— like, some of those women that I've been able to— that I now call my friends, like, I've always— Rachel Tucker, Alice Fern that I'm working with now, Louise Dearman, Kerry Ellis, like, all these incredible women that have, you know, kind of have been my peers in many ways, you know, through the industry. But I have always looked up to them, you know, they're absolutely incredible. For me, there's just— there's so many incredible artists in the West End that, you know, that just— I don't know, especially female artists, because now there are more leading female roles. And people like Julie McKenzie, you know, people— Judi Dench when she was working in the West End, you know, just people like that that have laid the groundwork for us, you know, that put all that time and energy into, you know, really developing female roles. And so people like that, really, I just look up to. And it's amazing. I've got so many pop artists that I love, like Celine Dion, Barbra Streisand, and all those people. But it's the classic artists for me, especially in the golden age, like the movie era of musical theater. Oh, yeah. Yes. We have movie musicals now, but they're not quite the same. I— the name escaped to me— the one who made Mary Poppins. Oh, Julie Andrews. Julie Andrews. I mean, she's the superstar of the superstars of the musical movies. Yeah, yeah. And it was great because back then there was a crossover, so you could do a movie and then move over to musicals. And, you know, now it's not quite the same as that, you know. But, um, but yes, absolutely, all those all those artists that were performers back then that, you know, just set the groundwork for all of us now to be able to work the way we are. It's, you know, I have huge admiration, thanks to them, you know. Absolutely. Well, this is the last part. So in the last part, normally I ask if you have any funny moment that you can recall of going on stage or behind, you know, the scenes that you can share with the audience. Oh goodness, too many. There's quite often— oh gosh, one's just come to my mind now, actually. When I was doing Shrek, I was doing the national tour of Shrek and I had an amazing time on that job. It was absolutely brilliant. Made friends for life there. And there was one day, I don't know why this happened, but for some reason we decided to do a fairy tale character fashion show. So we were all We'd be backstage just in these random costumes, as the little pigs, or me as a bear, or my friend as a dragon, or Pinocchio, or the fairy tale. All these fairy tale characters just decided to strut up and down backstage in their costumes. And I just remember looking at us going, if anybody saw us now in the real world, they'd be like, what are you doing? So many things that happen in the wings and backstage and, you know, you stop yourself in a conversation and you go, my God, if someone from a normal job heard us talking about this, they'd think we were crazy. You know, I mean, it's just so much fun. I mean, when you're doing characters like in Come From Away, those are everyday people. But when you get to do Shrek or I don't know, yeah, of course Mary Poppins Wicked, for example, yet you get to get dressed as a fairy, as a witch, as a— so it is very much fun. And what is impressive as well is the makeup behind, you know, that from, from stage you see the normal face, but from nearby it's actually so much work to it, hair and makeup. Absolutely, absolutely. And it'd be particularly in Shrek as well because we were wearing prosthetics as well, so, and we'd play lots of different characters, so we'd be in one costume and in makeup for one character, then we'd have to take all that makeup off and put another makeup on for another character. So it was, um, yeah, but we were lucky. We had a really great team there that really looked after us. So lots of skincare. Yeah, that's what you need. I had a friend, a classical pianist, who had to be on stage for something, a theater play or something. And he, you know, men in particular, they don't use the skin— not everyone uses skincare. So he had to go to Boots and stuff to buy product for his skin because it's really making you, you know, suffer. But it's a fantastic— yeah, it's a fantastic work. I mean, um, so you, you were saying you have next projects coming up, you're working on it, but at the moment we can all come and support you, um, at the Phoenix Theatre. Yes, absolutely. So January— yeah, fantastic. Well, the last song we're gonna listen to today is, um, Taking Chances by Celine Dion. they call Earth. You don't know about my past, and I don't have a future figured out. And maybe this is going too fast. Maybe it's not meant to last. But what do you say to taking chances? What do you say to jumping off the edge? Never knowing if there's solid ground below, or hand to hold, or hell to pay. What do you say? What do you say? I just want to start again, and maybe you can show me how to try, and maybe you can take me in somewhere on underneath your skin. But what do you say to taking chances? What do you say to jumping off the edge, never knowing if there's solid ground below, or hand to hold, or hell to pay? What do you say? What do you say? Oh yeah, my heart is beaten down, but I'm always coming back for more. Yeah, there's nothing like love to pull you up when you're laying down on the floor. Yeah, so talk to me, talk to me like lovers do. Yeah, walk with me Walk with me like lovers do, like lovers do. But what do you say to taking chances? What do you say to jumping off the edge of the known if there's some Solid ground below, or hand to hold, or help to pay. What do you say? What do you say? Don't know much about your life. Wonderful. And so this was Jennifer Tiernay performing for us Taking Chances by Celine Dion. Now, Jennifer, I mean, it's very intriguing. We heard you singing in all these beautiful tracks in today's radio interview. Is there any chance we can see you again in your one-woman moment show? I don't have anything planned for now, but maybe next year I'll do something for sure. We did— it just takes the amount of time and effort that I— because I want it to be personal and to the best standard. It just— I don't want to do them too regularly, you know, because— but yeah, hopefully next year I will keep you posted for sure. Beautiful. All right. Well, thank you so much for this incredible, wonderful interview. View and music that you shared with us today. To the audience, if you would like to ask any questions to our guest or nomination for our Future Classic Women Awards, please email presenters@womensradiostation.com or tweet us @WomensRadioStn. And again, a big thanks to our guest Jennifer for the great chat and the beautiful music played today. Thank you for having me. You're very welcome. You've been listening to Future Classic Women Awards on Women's Radio Station, live every day at 10 AM and 10 PM London time. And if you would like to listen to it again or catch up on our previous program, please head to my presenter page, Stefania Passamonte, Future Classic Women Awards, on womensradiostation.com. Thank you for listening.