Quick Q&A: Cristin Milioti

I talked with Cristin Milioti about Stunning, her co-star Charlayne Woodard, and the temptation to Patti LuPone.

What attracted you to the role of Lily, the Syrian-Jewish child-bride?

It’s one of the best roles I’ve ever read for a young woman, so well-written with a full arc and a beautiful story. I feel like the planets were in alignment that allowed me to step into this role because I had auditioned so many times with so many hundreds of other girls months earlier. It didn’t go anywhere and I was devastated. They called me back three days before the first rehearsal – they had given the part to another girl but they were replacing her. The next day I knew I had the role, thirty six hours before the first rehearsal.

David Adjmi, who wrote the play, was quoted as saying that he’s interested in characters who live adult lives but who are naive or lost to themselves. Does that apply to Lily?

It totally applies. One of the first questions that friends who’ve come to see the show ask me is: where are Lily’s parents? There are all these adults around Lily but they are almost as childish as she is. Ike, her husband, is a forty-five year old man but he’s constantly checking himself in the mirror and having these testosterone pissing contests. Lily is considered an adult by everyone in this world – she has her own house, hires a housekeeper – but no one told her what sex is or has explained the world. She’s almost like a baby when you meet her, like a little bird plucked too soon out of the nest. The whole scene where she talks with Shelly in Pig Latin as if Blanche won’t know what they are saying: it’s something that children would do.

I can’t help but notice the difference between your voice off stage now and on stage as Lily. What are you doing with your voice for this character?

As Lily it’s nasal and pushed higher; the dialect really helps, you sort of have no choice. Anne (Kauffman, the director) had to pull me back because the first voice I gave her was baby-ish. Even in that first scene that comes out with a bang it’s clear that Lily doesn’t really fit in: she’s not as fast as the other girls with the back and forth, she almost bleats like a sheep. In the second scene where she interviews Blanche she’s almost honking. That’s very stylized – it’s like Lucille Ball, tripping over herself, shouting. The more Lily learns the calmer and more grounded she gets, and there’s more pauses. That’s more of an adult way of talking and carrying her body.

Is it fair to say that the play starts out more stylized and then becomes more naturalistic?

There’s a slight shift. The first act especially is very stylized – rapid force, almost slapstick comedy. With Blanche coming in it becomes more grounded. Anne made that very clear for us.

photo: Erin Baiano

What is it like to be working with Charlayne Woodard?

She’s unbelievable and a wonderful person to be around. Charlayne is not only an incredible artist but I also felt like I really could trust her. I was my own worst enemy at first because I knew I had replaced someone. It was like jumping in the deep end. When I was feeling uncertain, she would support me – Danny Mastrogiorgio too, because the three of us worked very closely. It’s incredible to be on stage with her and to lock into those eyes. She’s constantly creating.

Is it rare, in your experience, to have an on-stage relationship where your partner is constantly creating with you?

I’ve had it at times. There have been times that were very difficult – I’ve been in plays when that relationship needed to be there but the other person had checked out. That’s one of the worst feelings to have on stage – you’re hung out to dry. That’s terrifying. Charlayne is always right there.

Have you been aware of members of the Syrian-Jewish community coming to the show and reacting to it?

Many people from that community have come and the reaction has been split. The younger people especially say “Yeah, you know what? It sorta sucks to have the mirror held up but yeah, that’s what we do, that’s very true.” Others come and from that first scene they react with “No, no! That’s not us! That’s not us!”

One night during the first week of previews there was all this commotion. This couple showed up and claimed to be related to the playwright – we found out later they were not. They burst in talking, took the two empty seats that were front row center and began to heckle us throughout the show. In the scene where I kiss Charlayne the woman said loud enough for the whole theatre to hear “That’s fu**ing disgusting, she’s a fu**ing dyke!” The scene where Jeanine (Serralles, as Shelly) tells me not to come crawling back to her or she’d kick me in the throat – they started applauding. Everyone else from the community has come to be supportive of David and to see what it is, and even if they don’t like what it is, they’re respectful. This was the only case. I felt like I was back on the playground in middle school. But this other feeling comes up – at least it does for me – and you think no, I’m not going to let them stop me from telling this girl’s story. Because that’s exactly what that is.

Were you at all tempted to stop the show and deal with them?

During one scene I was thinking of Patti LuPone-ing them, I’ve never done that and I’m in no position to. I looked around the stage and thought that the only person here who could Patti LuPone them was Charlayne, and I’m going to do what she’s doing. If she feels the need to plow through then I’m gonna plow through. I met my boyfriend for dinner after the show and I burst into tears. But I do feel – at least for Charlayne and I – that it was bonding. We thought: alright, there might be more of that and we have to be prepared. It was also a reminder of what this young girl I’m playing is dealing with.

What’s next for you?

After this I am doing The Heart Is A Lonely Hunter at NYTW with a great cast. I’m so bummed that I had to drop out of Lucy Thurber’s Monstrosity but I’ll be there to see it; it’s an awesome show. It’s unfortunate I can’t be part of it but I can’t describe how happy I am that Stunning has extended.