Michelle Williams has found the fountain of eternal youth and shares that secret eight times a week on stage. The Broadway vet has originated the role of Viola Van Horn in the new Broadway musical Death Becomes Her, and is winning over audiences for a lifetime. “It’s been six years since I did Broadway, so I thought it was the proper time to get back out there,” Williams told EBONY. “This show is iconic, and when I told friends and family of mine about it, they were like, ‘Girl, you better do this show.’”
Williams has appeared in several musicals, including Aida and Chicago on Broadway and the touring company of The Color Purple. She shimmers in Death Becomes Her in gowns designed by EBONY Power 100 honoree Paul Tazewell. “I was honored to work with him on [Broadway’s] The Color Purple in 2007,” she said. When I saw that he was our costume designer, I knew we would be in good hands.”
Williams shared more about debuting an original Broadway role and revealed whether she would sip a potion to live forever.
EBONY: You play Viola Van Horn. She’s gorgeous and timeless. How would you describe her in your own words?
Michelle Williams: Viola is an amazing scientist. She’s smart. She influences people to do what she thinks is right, and when they do, their lives are changed forever. Then she goes on about her business, which is pretty cool. That’s like me in real life. I could be at the Gap when somebody walks up to me and says, “You have no idea; this chapter in your book saved or changed my life.”
You perform the opening number of the show. What does that feel like when you come out?
Matthew Knowles gave us a tip years ago: “Don’t ever let anybody sit on you.” I take that to mean making sure you get up there and lift energy. I get out there and command the room, and I’m able to lift energy for the audience.
How does the intimacy of Broadway differ from the 20,000-seat arenas you’ve performed in?
Whether it’s 20,000 or 2000 or 200, I’m going to give the same performance; in an intimate space, I’m gonna give the same energy. Some movement might have to be more contained, but I’ve never thought, “Oh, it’s only two people in here. I’m not gonna give.” No, you give if there’s two or 20,000.
What do you do before you go on stage to hype yourself up for a performance?
I try to keep my dressing room as minimal as possible. I don’t like a lot of company running in and out as I prepare and get my hair and makeup done. And then, I have to make sure that my beauty counter is straight before I go out. They could call places, and I’m still making sure all the lipsticks are in order, and the eye shadows are where they’re supposed to be. There’s something about having order in my room before I leave to go on stage.
You’ve done a lot of stage work, but this is your first time originating a Broadway role. What does that mean to you?
I think it’s pretty cool. I’ll never forget when I did Aida. Heather Headley originated the role, and it was a joy to study her. I hope somebody comes behind me and feels the same way: “Wow, I get to study Michelle.” But I also want to encourage the person behind me to put your own into it as well: be you.
Paul Tazewell designed your costumes, and they are stunning. Did you have any input on the design, and is there just one of each dress?
I saw the sketches, and I tell you, I didn’t have one thing, not one objection, not one. I just was excited. Now, as far as how many of each of the dresses, there are only one. They are custom-made. I’m nearly sewn into these; that’s how specific the measurements are. The original coat [pictured above] was about 22 pounds.
Your sister girls, Kelly Rowland and Beyoncé, and Mama Bear Miss Tina Knowles, were there to support you on your opening night. How did it feel to have those people there for you?
It was a joy to have family there. I felt supported. There’s a saying that the old people in church would say: “I can run on and see what the ends gonna be.” It gave me a boost to run on and see what the end is gonna be. I think people take it for granted what support is and how much you need it. I don’t like to bug people and ask them to do anything. But when people make time to come out…my first cousin was there; she was one who that encouraged me to do this role. A friend of mine I’ve known for 40 years was also there. So, it’s been good.
What advice would you give your former bandmates to do Broadway?
Oh my gosh. Listen, I would love to see those girls do something on Broadway. I don’t have to tell them anything. I mean, I could tell them that eight shows a week ain’t no joke, so just maintain their vocal health and their bodies. But they would know what to do.
Broadway was once called the Great White Way, but it’s been changing. How does it feel to be a small part of its diversity?
I’ll tell you this: We were always present…I’m grateful for social media in that way, where people are probably a little more amplified. Everybody has their phones in their hands, and with certain information, I think it’s helping to amplify Black and brown people making great headway on Broadway.
Here’s a philosophical question for you. Is perfection attainable?
Oh no, because the minute you think you like something, you are gonna always see something else that you think you can change, at least for me. I could feel that I had the perfect house, and now they’re building one across the street from me, and I’m like, “I want that one.” So, I think contentment is gonna be a lifelong thing. It’s a daily thing where you choose to be content with what you are blessed with.
Would you take a potion to stay alive forever?
Oh, absolutely. I’m nosy, so I wanna see what everybody’s doing. Yes, I’m taking it!
Death Becomes Her is playing at the Lunt-Fontanne Theater in New York City.
