JESSICA CHASTAIN / A DOLL'S HOUSE
"At Juilliard, Andrei Belgrader told me. A great thing to do right before you go onstage even if you don't believe it is to stick your arms out in the air and go, I'm a genius. Then walk onstage. Because it'll create that energy within you.'"
Some Broadway stars hype themselves up with K-pop. Some opt for jazz. Jessica Chastain prefers the sound of nothing—a void before she’s thrust into the claustrophobic world of Henrik Ibsen’s A Doll’s House. “That feels quite Nora to me,” she says, “to sit in silence.”
The Oscar winner may find that quiet is hard to come by in New York these days. For the first time since COVID-19 put live theater on an indefinite pause three years ago, venues from Broadway to Brooklyn are bursting with a pre-pandemic sort of life. There have been captivating, progressive reinventions of classics like Sweeney Todd and Death of a Salesman, and bold new productions like Kimberly Akimbo and Ain’t No Mo’. There have been downtown sensations—comedian Kate Berlant, turning the one-woman show on its ear—and Midtown miracle workers like Lea Michele, Funny Girl’s greatest star. There’s been a Cinderella who’s good (Phillipa Soo in Into the Woods) and a Cinderella who’s not so good (Linedy Genao in Bad Cinderella).
This story is from the April 2023 edition of Vanity Fair US.
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This story is from the April 2023 edition of Vanity Fair US.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
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