Maya Rudolph Talks Oscars Bridesmaids Reunion and Fulfilling Her Broadway Dreams in Oh, Mary!

0:00 -Our first guest tonight is an Emmy Award-winning actress you know,

0:03 from her work on "SNL," "Loot," "Big Mouth," and "Bridesmaids."

0:06 She's making her Broadway debut as Mary Todd Lincoln in "Oh,

0:09 Mary," which is playing at the Lyceum Theatre here in New York.

0:12 Please welcome back to the show, the one, the only Maya Rudolph, everybody.

0:15 Cheers and applause]♪♪♪♪ Hello!

0:32 -Hello.

0:33 Cheers and applause continue] Hello.

0:35 -How are you?

0:38 -I think I'm good.

0:39 -I mean, you're a Broadway darling.

0:41 -I'm a Broadway darling.

0:43 -You're a Broadway baby.

0:44 -I'm a Broadway baby!

0:46 -You're a Broadway baby!

0:47 -Now this is, I mean, for all your accomplishments,

0:49 was this something that you had on your, like, to-do list, to do Broadway?

0:53 -Quite honestly, yes.

0:55 Like maybe before "SNL." And I'm not even joking.

0:58 -Oh, that's fantastic.

0:59 -Truly, like, when I was a little scrappy peanut, I thought like,

1:02 one day I'm gonna— I'm gonna make it on Broadway, Ma.

1:06 -And were you thinking at the time, you're like,

1:08 I'll play a historically inaccurate Mary Todd Lincoln?

1:11 -Yes.

1:12 Laughs] -Isn't that weird?

1:14 -It is weird.

1:15 Now it makes a lot of sense.

1:17 Um, this is incredible.

1:18 I mean, this show has already had, you know, a run unlike any other.

1:22 And, you know, just shout out to Cole

1:24 Escola and the incredible work and everybody who...

1:27 Cheers and applause] But this week,

1:29 the highest— the highest box office yet of its run was your week on the show.

1:35 -That's crazy.

1:35 That's crazy.

1:38 -You know, I've seen the show three times.

1:40 I can't wait to see it with you.

1:42 Our friend Andy Samberg has already called me.

1:43 He went and saw the show.

1:45 -I know.

1:45 He called you?

1:46 -He called me.

1:47 He's like, you can't— He's like,

1:49 it's everything you want it to be, and times two.

1:53 So he just said it was the greatest thing ever.

1:55 And you had your opening night, or your first night— -Yes, last week.

2:00 -Paul and your children came.

2:01 -My parents came.

2:02 -Oh, my God.

2:03 -Paul came.

2:04 My kids came.

2:05 And talk about, like, a full circle moment of life.

2:09 Like, realizing your childhood dream and then looking in the audience

2:12 and seeing your children sitting next to your dad.

2:14 I really— I lost it.

2:16 -I mean, I don't know.

2:17 I mean, you seem pretty calm here as you notice your family.

2:20 Laughter] -That was when— That's when I saw Pearl.

2:27 -This is the face you make when your kids

2:29 come back from, like, a long trip at sea.

2:32 -Like, "You're still alive!" -"You made it!" -"They made it!" I actually,

2:35 that was the moment I saw my daughter Pearl, who is here in New York,

2:40 and she helped me run my lines like every night to get ready for the show.

2:44 -Now and again, because, I mean, again, for those who haven't seen it,

2:48 like, this is, as one might expect from the title, this is the lead.

2:52 There's a lot of lines.

2:53 -That's what I realized.

2:54 -You're out there most of the show— -The whole time.

2:57 -And it's kind of, you know, it's so tightly written.

3:00 So you want to, you know,

3:01 obviously there's plenty of room for performance and making your own,

3:03 but, like, the actual dialogue, you want to get it right.

3:06 So, you had ten days to learn it.

3:08 -Ten days.

3:09 -That is the craziest thing I've ever heard.

3:10 -I know, and I thought at first, like,

3:12 I guess I should be flattered that they think I know how to do that.

3:16 -Well, that is this assumption of people

3:18 that come from "SNL." -And that's the thing.

3:20 And I kept saying, "I love that you think I

3:23 can do this, but we read cue cards." Like, we're lazy.

3:27 -Right.

3:27 -I can't— I haven't memorized anything in years.

3:31 I can't remember what I'm doing when I walk into the kitchen.

3:34 Like, I can't remember what I came in for.

3:36 How am I— -Do you think we should have Wally do cue cards in our kitchens?

3:40 -Yes.

3:41 -Oh, my God, I would love so much if I walked in and he's like,

3:44 "Oat milk." -He was like, "You came for toenail clippers." -But it is so funny.

3:51 I mean, look, the thing about "SNL" is you don't,

3:54 you know, you don't get nervous in front of a live audience.

3:56 But the idea of, like,

3:57 the learning lines— I remember when I started doing this show,

3:59 people would be like, oh, you'll be so good at interviewing people

4:01 because you interview people on Weekend Update.

4:03 And I'm always like, "That's scripted." -It's all scripted.

4:05 I know.

4:05 Have you noticed a lot of people say, "Well,

4:07 you know what you're doing because you guys improvise on 'SNL.'" I was like,

4:11 who improvised when you were there?

4:12 -No, it's very funny too.

4:13 It's their way of being like, 'cause nobody could have written that ending.

4:17 -That's probably— That's probably where— -You're like, no, no,

4:19 we worked on that for a week, the whole week.

4:22 And they're like, "Oh,

4:22 and that's the best you could do?" It's like, "Uh-huh." -Yeah.

4:25 We're actually professionals.

4:27 -Yeah, no, that was on multiple cue cards.

4:28 We all signed off on that.

4:31 Um, but so you had ten days to learn it.

4:34 -It was like, it was like, um, like fantasy, like, basketball camp.

4:38 -Yeah.

4:38 Like, they throw you in and every day you're like,

4:40 "I don't think I'm gonna make it." And then the next day you're like,

4:43 "I can dribble now." -Like, yeah.

4:44 -"I think I'm gonna be okay." -You were even saying

4:48 that basically this week was the first time where you're like,

4:52 you're walking on stage confident you know it all.

4:54 -I would say maybe, like,

4:57 last Friday was like— which was the end of the first week of doing it.

5:03 I was like, oh, I think I know my lines now.

5:07 -When it was over, you told the audience, you're like,

5:08 you're the first people this week to see the actual play.

5:10 -Yeah.

5:11 Pretty much.

5:12 -Yeah.

5:13 -Like, I'm sorry to all the other people that paid money.

5:15 -I think everybody's very happy.

5:17 I think everybody's very happy.

5:18 You, um, uh, obviously multiple performers have taken on this role.

5:23 You know some of them.

5:24 Um, did you speak to anybody?

5:26 Did you reach out and talk to anybody before they did it?

5:27 -I spoke to Jane Krakowski about it,

5:29 who really got in my head how heavy the dress was.

5:32 And at first I was like, "How is it, Jane?" And she's like,

5:35 "It's so hard." And I thought, if you think it's hard— -Because she's a pro.

5:39 -You're a Broadway professional.

5:42 Like, I should not be here.

5:45 It's— It is— It's really hard.

5:47 But I have to say, what's so incredible about the show is it

5:51 invites people like me or anyone who brings what they do to it.

5:57 And I've never felt like I could be more myself and still,

6:03 you know, pay respect to an existing show.

6:07 And so it's like for ham bones like me, it's the best job in the world.

6:12 -Well, you know, it is that amazing thing that Cole did is they started

6:16 from the place of this is not going to be based in the reality of this person.

6:20 Right?

6:21 It's going to be loosely based on historical events.

6:25 But any performer who steps into the role doesn't have to adhere to, like,

6:29 who Mary Todd Lincoln was.

6:30 It's just like— -Exactly.

6:32 -It is, like, built for a performer to make it their own.

6:34 -And built for a performer to do all the things

6:36 that they want to do and get to do.

6:38 And that's why I think it's lived for so long.

6:41 And that's why every Mary that comes in is— it's a new show.

6:44 -Yeah.

6:46 We— I mean, I said this backstage, but, you know,

6:48 one of the sketches of yours that we always talk about,

6:50 especially on the "Lonely Island" podcast, is when you sang the national anthem.

6:54 I highly recommend everybody go on YouTube and watch it.

6:57 But like there's 57 moves within four minutes.

7:00 And Andy said it's like he goes and he's like,

7:02 "It's like 80 minutes of watching her sing the national anthem." So,

7:06 for anybody who is on the fence,

7:07 hopefully that— But I have a lot more questions.

7:09 We'll be right back with more from Maya.

7:11 Welcome back, everybody.

7:12 We're here with Maya Rudolph.

7:13 Um, we've talked about—[ Cheers and applause] You know,

7:17 I feel like I have, like, this sort of exalted status where I have been

7:21 invited to a few hangouts with like this, like,

7:23 golden era "SNL" women, the "SNL" ladies.

7:26 And it's kind of crazy to think that right now you're on Broadway.

7:30 -Yeah.

7:30 -And then Rachel Dratch and Ana Gasteyer are

7:32 both on Broadway and also both Tony nominated!

7:36 Our friend— -Isn't that incredible?

7:38 -It is just, I mean, again, like,

7:39 it's not like anyone who ever spent any time with you guys had doubts about,

7:42 like, what you were capable of.

7:43 It's just so cool right now to see it in this whole new form on Broadway,

7:48 and then your "Bridesmaids" pal Rose Byrne also.

7:51 -Also on Broadway!

7:52 -Also a Tony nominee.

7:54 -Yeah.

7:55 I mean, I know it's um, it's pretty remarkable.

7:59 -Yeah.

8:01 -These ladies were really banging up the boards.

8:03 -You're banging the boards.

8:05 -Yeah.

8:05 -Everybody's very happy with how you guys are banging the boards.

8:08 Um, uh, the "Bridesmaids" crew got together at the Oscars.

8:11 I mean, the Oscars was a special night for a lot of reasons.

8:14 -It was.

8:16 -Um, obviously you were there, uh, with Paul.

8:19 Um, and then you also got to hang out with your old "Bridesmaids" pals.

8:24 Was it so nice to have this as part of the night?

8:25 That was probably pretty stressful.

8:27 -It was extra stressful to then say,

8:29 "And would you like to present?" I was like, I'm already stressed out, but okay.

8:34 -You were also— you were on camera a fair amount.

8:36 Like, obviously when they would cut to Paul,

8:39 you were in the shot, so were you hyper-aware?

8:41 You know, because "One Battle After Another" had so many nominations.

8:44 -Yes.

8:44 -And then did you have to, like,

8:46 find your on-camera face for nomination moments?

8:49 -Yeah, because all night I was sitting there like

8:52 this, and then the camera would come on and I was like...

8:56 It's actually very— it's very nerve-wracking, as I'm sure you know,

9:00 because there's somebody like this all night.

9:02 -Yeah, yeah.

9:04 -And it's one thing when you go to those things or if you're going to present,

9:07 but to have that constant underarm sweat of, like,

9:11 what if they call his name, then he has to go up and speak.

9:15 -Yes.

9:16 -What does that look like?

9:18 -Well, also the performance, because I think if they call your name,

9:20 like, then instinct takes over.

9:22 When they don't call your name,

9:23 that's when you have to perform "I'm okay with this." -Both sides are horrible.

9:27 -Yeah.

9:28 I remember being at an Emmys once where

9:30 I was on the aisle and we were nominated,

9:32 and they came— the camera's right here.

9:34 And I'm like, they can't be this close if I lost.

9:38 And then we lost, and I was like, oh.

9:41 -Oh, that's horrible.

9:43 Oh, it's so horrible.

9:45 It's so cheesy.

9:46 -But it was nice.

9:47 And congratulations to Paul and his incredible movie.

9:49 -That was a wild night.

9:51 And I have to say, I don't, um, yeah.

9:54 It's so weird to go to those things.

9:56 And then you say like, it doesn't matter if you win,

9:58 but then you see the person you love win,

10:00 and you're like, "Winning is fun." -Oh, yeah.

10:02 -It's so fun.

10:03 -No, there's really something to it.

10:05 -At a certain point, he was like, "Is this night going by fast?" And I was like,

10:09 "Yeah, because you're winning." -Yeah.

10:10 Time goes so fast when things are going well.

10:12 -So much faster when you're winning.

10:14 Remember that.

10:15 -Yeah.

10:16 Um, we talked about how this was a dream of yours, uh, Broadway.

10:20 Theater camp kid back in the day?

10:22 -Big time.

10:23 But like, it wasn't like French Woods theater, like professional theater camp.

10:27 It was like my high school teacher did a thing called production camp.

10:30 -Got it.

10:31 -I did a lot of like, um, you know, runaway kids, like, singing songs.

10:36 -Oh, wow.

10:37 Okay.

10:38 -Like a lot of music, like original musicals.

10:40 -I see.

10:40 Right.

10:41 -I was a character named Crackers, -Okay?

10:43 -Cause, like, Crackers is crazy.

10:46 I think Crackers is comedy relief.

10:47 -So this was is comedy.

10:49 This was an unlicensed camp that did not have the rights to Broadway musicals.

10:52 -That's right.

10:53 Yeah.

10:53 No, we didn't do, like— -You had a you had a teacher who mostly was trying,

10:57 obviously, now you realize trying to trick you into running away.

11:00 -That's right.

11:00 -And make money off it.

11:02 -And make money off of it and giving you names, undercooked names like Crackers.

11:06 -Some might say undercooked.

11:09 Some might say perfect.

11:11 -What is your— You have a show tonight.

11:13 -Yeah.

11:14 Like, when I leave here.

11:15 -You go right over.

11:16 -Yeah.

11:17 Cheers and applause] -Will you have time?

11:20 Do you have pre-show prep?

11:22 And will you have time for it, having been here?

11:25 -I'm supposed to.

11:26 I try to warm up.

11:28 I try to warm up a little bit, warm up my voice,

11:31 and then do, like, really embarrassing,

11:33 like warm-ups, like blow through a straw.

11:36 Um, my vocal coach gave me, like, a kazoo.

11:39 Joan Lader, she's great.

11:41 -But I mean, I would imagine it's an impossible show to do without warming up.

11:45 It would seem, like, very irresponsible and unsafe.

11:47 -Yes.

11:47 That's correct.

11:48 And by the way, I also still don't really know what I'm doing.

11:52 So, I do it, but I feel, like, really self-conscious,

11:54 like I hope no one in the hall can hear me.

11:57 -As you blow on your kazoo.

11:59 -As I blow in my kazoo.

12:00 -Yeah.

12:00 -Which maybe is, like, not what you're supposed to do?

12:03 I don't know.

12:04 -The Broadway pros are like, "Oh, she's new." -Ooh, yeah.

12:08 -"She's still doing kazoo." -"We're on banjo."[ Laughter] -Uh, also,

12:15 congratulations not just to you, but to the ticket-buying public.

12:18 Extended for two weeks, your run.

12:20 -Yes, yes.

12:22 -Till July 5th.

12:23 -Till July 5th.

12:24 -So, the window remains open for people to come and see you.

12:28 Maya, I'm so excited to see it.

12:29 And I'm so happy to have you here.

12:31 It's so great to have you in New York City.

12:33 Cheers and applause] Maya Rudolph, everybody.

12:35 You can see Maya in "Oh, Mary" at The Lyceum Theatre through July 5th.

12:38 We'll be right back with Michael Gandolfini.