I promised Frances Ruffelle, who originated the part of Eponine in the musical Les Misérables, that I wouldn’t ask her any questions about that musical and her experiences with it. Let’s face it, she started with the show in London in 1985 and then moved with the production to Broadway. Even though it earned her a Tony Award, that was a long time ago. Rather, I was excited to talk with her about her one-woman shows which garner amazing reviews in New York. Finally Los Angeles will get a taste of what she does when she brings her show Frances Ruffelle: Live(s) in New York to Rockwell Table and Stage on Sunday night.
When we spoke by phone she was in London. It was a very frank conversation that I feel reflects not just who she is, but also what she tries to do with her shows.
When you put together your shows, what are you hoping audiences will understand about who you are as a person and a performer?
I think they need to understand I’m very honest. I don’t really hold anything back when I perform. The stories I tell everyone says, “you’re very brave.” I don’t feel brave, but I feel normal.
Why do they say you are brave?
I’ve gotten to this stage in my life where, it’s not that I don’t care, but I don’t care what people think about me. Instead of that being a bad thing, it’s a good thing. They get to know me and I do an unusual show and say what I want.
When I read reviews and/or comments about your show, it strikes me that you like to upend the idea of what a cabaret show is. In fact, you don’t consider it a cabaret show. Why?
When I first did a one-woman show, I wanted to do a cabaret show and everyone was saying it was cabaret. I looked into the word “cabaret” and it means a small room. I had a few bad reviews where I didn’t talk about myself and about the songs, but I don’t want it to be what you’d expect. I want to entertain, but I want to do what I want to do. Creatively I don’t think I’d be satisfied if I said, “Oh, I sang this in Les Misérables.” I don’t know that there’s a word for it. Perhaps “theatrebaret.”
What do you enjoy most about the freedom of both defining what your show is and creating it?
That’s the right word – freedom. I have the freedom. When I first started doing my own show I could do any key I wanted. What I discovered after 15 years is I love to write and create. I’ve become a creator and for me creating every single day just makes me happy. Doing my own show really makes me much happier than doing something someone else has given me. Not that I don’t want challenges, but I have to admit this is my most favorite thing to do.
There were huge gaps between when you were in New York in the 1980s and now that you have returned. How has your relationship with the city changed?
I always thought it was a lonely city. It was a challenge for me coming back three years ago. It was lonely at first again. But I challenged myself because New York has been really kind to me. I haven’t felt that kindness in London compared to the States. I felt I had to come back to New York because I hadn’t finished. I was pregnant with my daughter and I had to leave the show. Now after spending three years in New York, I suddenly feel the loneliness is gone. New York is now a special place where I feel so at home I can’t imagine leaving. My show is a little bit about it.
In 2017 you played “Queenie” in a production of Michael John LaChiusa‘s The Wild Party in London.  You told the Belfast Telegraph that you related to the role becasuse “Life doesn’t always go the way you want it to go, but you have to embrace and enjoy what you have.” Has life gone the way you wanted it to and do you enjoy it?
Now it is. My life hasn’t gone the way I really wanted it. But I don’t want to moan too much about that because I’ve had a great interesting life. As a career it hasn’t always gone the way I had hoped. Hence me moving to New York really. I’ve been doing these one-woman shows every month [at The Green Room 42] and they have been a showcase. It’s going well.
It should be noted that Ruffelle is working with Alan Cumming on a “play merged with a concert” – her words – for next year. She’s also hoping that there might be life in the production of The Wild Party from London – which she also produced.
In The Wild Party, Queenie has an epiphany in “This Is What It Is” when she gets to the lyric, “This is what it is to know the day and meet the sun.” What’s the most important epiphany you’ve had and how did that realization allows you to be who you are today?
Funny you should say that line. Because that’s the title I have of my film script right now. That line is so poignant to me. I don’t know. I have had a great time. I’ve got great kids. As long as I love and I’m kind and truthful…every day I get up and I appreciate what I’ve got. Epiphany? I’m not quite sure. I don’t think I suddenly come out with something in my head. I think the freedom I have has made me happier and a kinder person. I’m really enjoying my time and I think that’s all you can do.
Main photo by J.R. Rost/Photos courtesy of Fortune Creative and her website.
Update:  This post has been updated to include a better video more aligned to the material performed in her show.
