There are few people who can claim to have had the same career for more than six decades, and fewer still who remain as vigorous and capable as they ever were. Broadway legend and musical superstar Chita Rivera is certainly one of them. Already an accomplished ballerina in her youth, Rivera accompanied a friend to an audition for the touring company of Call Me Madam in 1951 and, after auditioning on a whim, ended up landing the role herself. The role led to further Broadway productions and in 1957 Rivera would be cast in what would become her break out role, that of Anita in the original production of West Side Story. Rivera would go on to further stardom, playing the role of Velma Kelly in the original production of Chicago, Aurora in Kiss of the Spider Woman, the evil Queen in Merlin (alongside neophyte co-stars which included Nathan Lane and Christian Slater), and Zorba in Zorba the Greek, to name but a drop in the bucket of her remarkable body of work. Rivera has been cast in an astounding number of Broadway, film and television roles which have to date earned her two Tony awards, a further six nominations, the Presidential Medal of Freedom, and was the first Latino- American to receive a Kennedy Center Honors award. With no signs of slowing down, Chita is headed to the Northern Alberta Jubilee Auditorium in Edmonton on June 2nd as part of the Legends of Broadway benefit concert series presented by Jewish Family Services. Rivera spoke with GayCalgary Magazine to discuss her incredible career and to deliver a special message to her plentiful gay following.

GC: You have been fortunate to have played some of the greatest characters in some of the most amazing productions, from Aurora in Kiss of the Spiderwoman to originating the role of Anita in West Side Story.  Is there any role that you always wanted to play but never got the chance to?

CR: You know, honestly, I was kept busy with those amazing shows, there really hasn’t been, including Mama Rose. I never wanted to play Mama Rose. Everybody always says Why haven’t you played Mama Rose? ...Those were the days; they called them the Golden Days. I said to a friend of mine, actually it was to an audience, I said My God it’s the Golden Age? My time? Is there anything that happens after the Golden Age for God’s sake? There was this very chic woman there in Palm Beach, and she opened her mouth and said Platinum darling, platinum. So I said Ok, there is something after the Golden Age [laughs]. But these roles have really kept me very busy and very happy. I’ve just not stopped. We’re about to do The Visit now, and this particular role of Claire is an extraordinary role. It was a play done by the Lunts years ago, then it was done in film by Ingrid Bergman and Anthony Quinn played in it. So Kander and Ebb, one of the last things they wrote together before Freddy died, was The Visit, and we had done it a couple of times before Freddy passed. We did it in Chicago, trying it out, and then we did it in Virginia. Then Freddy passed, and now we’re getting a chance to do it again up in Williamstown, Massachusetts this summer. So hopefully third time’s lucky. We’ll just give this old girl another try and hope that what happened with the [Kiss of the] Spider Woman will happen with The Visit. Spider Woman would not have been the hit that it was had it not been for Toronto based Canadian Garth Drabinski. We owe him a hell of a lot for believing in it, you know. Then we took it to Canada, we took it to London, and then back to New York and then won four Tonys. So you know we’re hoping that we’ll be able to have that kind of luck.

GC: I hope so too for you. Now you said that there really isn’t a role that you haven’t played that you always wanted to, but of all the amazing roles that you have played including this one of Claire, is there any one that has been a personal favourite of yours?

CR: You know each one, I’m totally aware, have come at the right time in my life. Each one has been a part of me. For instance the part of Anita, it was an extraordinary role, and it was just right at the time that I was really ready for it. Of course it was Latin. I must say I did love playing Zorba the Greek, I enjoyed that a lot, but I didn’t originate that. Then when Spider Woman came along, I was really ready for it at that time and that age in my life. Florence Klotz, the designer, designed some fabulous gowns. The Spider Woman was wildly sexy and chic. So I was ready for that. That was great. That was like another extension of myself. They’ve really all been an extension of myself.  Even the evil Queen in Merlin. I can say there’s an evil Queen in me too [laughter].

GC: Well those characters are usually pretty fun to play as well.

CR: Yeah they are [laughs]. They’re not too evil, they’re glamorous.

GC: Before originating the role of Anita in West Side Story or even Velma Kelly in Chicago, when you’re doing the rehearsal process for these shows do you have a sense that these are going to turn into the great, impactful works that they will, or is it still always kind of Oh I hope this catches on. I hope the audience gets this-

CR: It’s a drag, but that’s exactly what it is. You never know. You honestly never know. I mean for instance Spider Woman is the perfect example, it could have DIED in Purchase, New York. It simply could have gone and never been seen again, had it not been for the insight that Garth had. I use that as an example when I’m talking to kids in Universities. You never, ever know. It depends so much on the time, it depends on the critics. It depends on so, so much. I’ve just been really lucky because I’ve worked with geniuses. These guys I’ve worked with have all been phenomenal. Everybody’s doing revivals of the shows that these guys wrote for us. The thing that worries me a little bit is that [these days] there’s not too many American, original shows, which means, what the heck are we going to revive? There’ll be nothing to revive. So I’m hoping that The Visit, which is a very dark musical, it’s not Mary Sunshine, it’s not Bye Bye Birdie, it’s not a happy ending. It’s just great theatre, I think. I pray to God the audience thinks so. It’s original, the score’s original. Terrence McNally has adapted a great book. John Doyle, he’s an English director, and Roger Rees the English actor is going to play Anton opposite me. So we’re just hoping that it will go, you know what I mean. Third time’s hopefully lucky. But I don’t think after the third time I’ll be coming up with it again [laughs], then it would be called ‘Beating A Dead Horse’ [more laughter].

GC: You do raise an interesting question; some of the musicals that come out of, as you yourself called it the "Golden Age" of musicals, they are still as popular today as they ever were and they have had this longevity and this timelessness. I’m wondering if you feel the evolution of the musical, as they are being produced today, whether or not they will have that same ability to transcend time?

CR: I’m worried. Let me just say that. I have not seen everything but, I’m very worried about it. Unless I’ve missed something, I can’t see anything that will. There have been a lot of fun plays like Matilda that comes from London and Kinky Boots. But I’m not so sure.

GC: I was thinking the same thing, that we don’t really have an Andrew Lloyd Weber or Steven Sondheim of this new generation.

CR: Or a Cy Coleman or a Kander and- well you do have Kander still, and he’s written a wonderful musical that did not do well here, but it’s in London now and I think it’s a hit in London [The musical is called The Scottsboro Boys, which despite closing in 2010 did manage to garner what would have been a record setting twelve Tony Award nominations, though failed to win any. The Book of Mormon earned fourteen nominations that year]. It’s about nine black fellows in the south who were accused of raping a white woman, and they were innocent. I loved it when I saw it. Susan Stroman I believe choreographed and directed it. It didn’t run very long here, but then of course it was across Sixth Avenue. And so much has to do with the timing of the show and the theatre it’s in. All of that has something to do with it. It’s a drag, but it’s true. I’m not too sure about what’s going on today, being a show that will be able to be revived and it lasting a long time. I think people used to have a lot more interest in the theatre than they kind of do now; their attention span is shorter. And the scripts were so great, the books were so great in the Gypsy days and the West Side days. They were stories to be told and [today] people watch too much TV [laughs].

GC: You weren’t able to perform the role in 1961 of Anita [in the movie version of West Side Story] because you were committed to Bye Bye Birdie. First of all, what did you think of Rita Moreno’s version of Anita? And, whenever you’re watching another actor perform in a role that either you’ve originated or played before, do you tend to critique their version based on choices you’ve made or how you would have played it?

CR: I think you can’t help it because you’re so used to certain things. I know when I took the national company of Sweet Charity out, I constantly had Gwen in my head. Gwen Verdon was something else. You might be able to add something of yourself [to the role], definitely you should do that. But her interpretation was just- besides, she breathed the first breath of life into the role. You can’t help but look at something and think oh that works better or that doesn’t work better. And I thought Rita did a fine job. She did a very good job. It was different in that, the number "America" was all girls in the original, which I prefer, and Jerry mixed it up. It was originally supposed to be boys and girls and then sometime in rehearsals of the original Jerry said to Peter Gennaro who had choreographed it, Let’s cut all the boys out and just have girls. I thought that focus was a better focus. But you almost can’t compare a lot of things, especially when it’s movies and theatre. Because the movies, that’s a whole other bag of beans. It’s bigger, it’s broader. But give me the theatre any day.

GC: Speaking of theatre versus movies, what are your thoughts on taking theatre to film for their adaptations, whether it be Les Mis. or Chicago, which you performed in, and putting screen actors in some of these roles as opposed to theatre actors?

CR: Well first of all you have to understand it. You have to understand the logic of it. I understand people want to see movie stars. I can dig it, you know. You kind of stomp your feet for five minutes but what good is that? You’re just gonna hurt your feet [laughs]. It makes sense. It doesn’t necessarily mean that it’s better by any means. But I understand; rear ends in the seats! I think I’m a bit more critical when celebrities come to the theatre from movies. I think I’m a bit more critical that way as opposed to the other way.

GC: Right, because you almost feel like, they haven’t maybe, paid their theatre dues.

CR: Right. It’s difficult. I mean, there’s a phenomenal actor, Bryan... he played in the fabulous television [show] Breaking Bad.

GC: Bryan Cranston.

CR: Yeah. Boy is this guy good. Oh my God! He’s playing LBJ on Broadway to rave reviews. And if he doesn’t get a Tony, they’re crazy! But this is a guy who adapted himself so brilliantly from films to theatre. Of course he had a great script too, but this guy is a wonderful actor all the way around. My daughter sold me on Breaking Bad because I didn’t particularly like the subject matter. I thought it was kind of like hey, it’s ok to do dope in your garage. And today people are so affected by what they see. But boy was it written brilliantly and the other actor who played opposite him was also fabulous. So you know, you really love to see actors like Bryan Cranston come to the theatre. And also like Antonio Banderas. Antonio Banderas was superb, nothing less than brilliant in Nine. When he came he was fabulous, so these are actors that can be great wherever they go.

GC: Yeah, he did great in Evita as well. He played a very strong role, he’s a great actor. Speaking of great actors, you really have - and you would probably agree - been blessed to work with some of the all-time greatest, from Dick Van Dyke to Liza Minnelli and Shirley MacLaine. And I was wondering if you had any memories of any of your co-stars that always makes you laugh or bring a smile to your face?

CR: Oh god, I do nothing but laugh! I insist upon that [laughs]. And Dick and I had THE best time in the world. I mean, we were laughing so hard in rehearsals that Gower [Champion] said Look, I think you two should just go home. Just go home because all you’re doing is laughing and we’re not getting very much done today. So go home and straighten yourselves out [laughs].

GC: Almost like a reprimand! [laughs]

CR: [laughing] Absolutely! We were like two kids. And I actually just saw him about a month ago. And Liza and I just had the best time. The funniest part was me playing her mother. That’s the funniest part. But we have so much in common and have been friends a long, long time. We’d go off on set and one of us looks at the other and then crosses our eyes or does something crazy. In Birdie, in the Shriner’s Ballet I had toys and [junk] underneath the table, so the boys when I finally pulled them down under the table, there was a lot of [junk] under that table that they had to deal with, so we had a lot of fun. And in Merlin my crown, the Queen’s crown, comes off and I’m standing there with a bald head. All sorts of [funny] things happened.

GC: Speaking of playing Liza Minnelli’s mother, you appeared on The Judy Garland show, and I was wondering if you have any special memories of Ms. Garland?

CR: Well I was just in awe, and [when I spoke] it was a wonder that anything came out. She was such a phenomenal woman. And she loved dancers and she loved other performers. She was a very giving person. It was just fantastic to sit next to her. With Mel Torme directing us as we sang, and there I am sitting next to THE Judy Garland. But she was just like anybody else. She insisted on being just like a friend. She was just really fantastic. I felt as though I had known her forever when I worked with her.

GC: Obviously in our gay community she had a huge following and was a very beloved person.

CR: Oh yeah! Gay people see it and they know it. They know when somebody is genuine and is honestly from the heart. And when somebody really wants to do something for you and gives a part of themselves, they know it. You can’t fool gay guys, you just can’t! They can see through it. I love it! I went out to Cherry Grove last summer and did my show and I didn’t even have to sing, the guys knew every word [laughs]. And that’s just the cutest thing you can ask for; it’s a party! We had such a great time. And I’m looking forward to coming to Edmonton.

GC: We’re definitely looking forward to having you here. Everyone’s very excited in the theatre world and in the gay community here. Did you have any special messages for your gay following?

CR: Awww, just love! Love, love, love. Love is the key. I cannot wait to share the gifts that God gave me with them. We’re family. It’s as simple as that; we’re family.

GC: You’re coming up to Edmonton with the Legends of Broadway benefit series. Do you enjoy getting to go out on the road and going to different places as opposed to staying on Broadway?

CR: I love it! I do. I just said to my sister who was in the house today that I need to get out [laughs]. I need to go back out on the road. I do most of my reading on the road, when I get home there’s so much crap that has to be done [laughs]. I’d rather be in a hotel room looking forward to a performance for my gay friends!

GC: Have you ever had a chance to come to Edmonton or Alberta before?

CR: I don’t think I’ve played Alberta. But I have played Vancouver. I absolutely love Vancouver, and I love Canada. I did a couple of clubs in Canada and then Spider Woman went to several places there.

GC: Hopefully you’ll enjoy Edmonton just as much.

CR: I know I will! I know I will.

GC: And finally, if you had one piece of advice for anyone hoping to break into the world of professional theatre and to hopefully have a career like yours, what would it be?

CR: You really do have to want it, you have to want it with all your heart. It’s a form of communication. It’s an art form that communicates with the rest of the world. Whether you dance, whether you sing, whether you laugh. And I think you really have to work hard. Don’t believe these television shows you see where it happens overnight. And if you want longevity, you have to take it very seriously and be passionate about it and for God’s sake don’t lose your sense of humor! [laughs]

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