On Stage Jenny Lee Stern Is Bernadette and Patti. At Home She's a Mom of 5

Where can New York audiences see Bernadette Peters and Patti LuPone onstage in the same show eight times a week? Forbidden Broadway, of course.

And, playing both of those Broadway powerhouses to perfection is Jenny Lee Stern in Merrily We Stole a Song, the newest edition of the long-running Gerard Alessandrini revue. That's not all, she also does impressions of Suffs' Shaina Taub, former Secretary of State and current Broadway producer Hillary Clinton, and recent Cabaret star Gayle Rankin. Stern is part of a top-notch cast in the often-hilarious production at Off-Broadway's Theater 555 that also includes Danny Hayward, Nicole Vanessa Ortiz, and Chris Collins-Pisano plus long-time musical director Fred Barton on piano. Performances continue through November 3.

Stern, whose Broadway credits include Rocky and A Christmas Story, is a Forbidden Broadway veteran, who previously appeared in the original casts of Forbidden Broadway: Alive & Kicking, Forbidden Broadway: The Next Generation, Spamilton, and Forbidden Sondheim. She’s toured North America playing Mary Delgado in the Tony-winning Jersey Boys, and the big-voiced actor has also played Patsy Cline in Always…Patsy Cline a dozen times over the past decade.

A cabaret favorite, Stern is the mother to three humans—Nora Bella, 15; Penelope "Patsy" Shayne, 13; and Daisy Blue, 6—and two felines, Violet and Sunday.

In the interview below for the Playbill series How Did I Get Here—spotlighting not only actors, but directors, designers, musicians, and others who work on and off the stage to create the magic that is live theatre—Stern shares tips for navigating the highs and lows of a theatrical career, why she has utmost respect for Broadway moms, and her over-40 dream cast for the hit pop musical SIX.

Jenny Lee Stern as Bernadette Peters in *Forbidden Broadway* Carol Rosegg

Where did you train/study?
Jenny Lee Stern: I began at three years old at the world-famous Nancy Brownstone’s school of art and dance in the basement of the hippie utopia, Pebble Hill Church in Doylestown, PA. Everyone’s heard of that, right? I studied dance, music, mask making, and cooking. I made my debut in front of a live audience in Pinocchio as the puppet with strings. I was a triumph.

This was followed by short stints at NYU and North Carolina School of the Arts. Most of my training was (and is) hands on in the trenches. I continue to learn and train and level up everyday by watching my peers and idols.

Was there a teacher who was particularly impactful/helpful? What made this instructor stand out?
This is a very difficult question for me. My lifelong teacher and mentor, the one person who shaped me into the artist/performer/musician I am, was convicted last year of the abuse of dozens of children. Friends I grew up with. Children I, too, mentored. This has been very, very unbelievably painful for me as every breath I take onstage is infused with his teachings. I continue to work through this betrayal daily. My three daughters have now become my biggest teachers. Watching them perform and just live life inspires me everyday.

When did you first become involved with Forbidden Broadway? What's it like working with Gerard Alessandrini as he creates and fine tunes new parodies?
My first FB was Alive & Kicking about 12 years ago. Gerard is an absolute genius. The respect I have for him will never waiver.

His trust in me to collaborate and honor his work is not something I take lightly and am so grateful to have him in my life and career.

Who have been some of your favorite artists to parody? Is there one you are proudest of?
I love doing Patti. Bernadette. Judy [Garland], of course. The Judy/Renée [Zellweger] number from The Next Generation was pretty epic. Very proud of that one.

Jenny Lee Stern as Patti LuPone in *Forbidden Broadway* Carol Rosegg

Have you ever come face-to-face with an actor you have parodied? Do you have a favorite reaction?
My all-time fave was running into Patti upstairs in the dressing rooms at 54 Below. I introduced myself and told her I’ve played her in multiple incarnations of FB. Her response was: “Forbidden Broadway??! They’re still doing Forbidden Broadway??!” And I actually say that line in the show now before my Patti number! Art literally imitating life.

Does the cast have as much fun onstage/backstage as the audience has watching?
The show is like being shot out of a cannon! There is basically no time to even make eye contact with anyone backstage. But yes, we have fun. A great bond happens through this process. It’s very intense. Ever-changing. Very collaborative and very demanding. You have to build great trust with your co-stars. It’s unlike any other show in that way. Once we go, it doesn’t stop for 90 minutes, and we all have to be there for each other or it just doesn’t work.

Do you have a dream stage role or roles?
Classic roles I haven’t played that I’d love to play: Dolly, The Witch, Mama Rose, Velma.

Roles currently on Broadway I’d love to play: Cleaves in SIX (and I have a whole cast of women over 40 to star in it with me! Ta'Rea Campbell as Aragon, Sara Jean Ford as Boleyn, Jackie Burns as Seymour, Vasthy Mompoint as Howard, and Michelle Aravena as Parr), Sally in Cabaret, anything in Wicked (solely to impress my children), Audrey in Little Shop, and dreaming of somehow being involved in Old Friends when it comes in.

A role not written yet in a play not written yet that I’ve been manifesting for decades: The daughter of Katey Segal and John Goodman. My two fave actors of all time. Maybe I need to write it… if anyone wants to collab and make this happen, call me! Dream of all dreams.

Tell me about a time you almost gave up but didn’t.
Every single night after our "Jellicle Ball" number. It’s a beast.

What do you consider your big break?
I guess Jersey Boys. My first really big production contract job. I was cast as Mary Delgado in the Chicago company. Very cool to have been only the third person ever to play the role. I went on to do the role on tour and also originated the Toronto company. Then, I made my Broadway debut with kind of two shows at the same time. I was performing in A Christmas Story every night at Madison Square Garden and in rehearsals for Rocky every day. It was wild and exciting and exhausting and amazing. I loved every second. Although I always remind myself, this business isn’t linear. So really you can continue to have “big breaks” then little stumbles and around and around and just have faith that you’ll end up where you want to and are supposed to be.

What is the most memorable day job you ever had?
Honestly, I’ve been blessed and am proud to say that in the past 20 years, I’ve made 95 percent of my income performing. It’s been absolutely incredible. But certainly my most favorite job back in the day was when I was a bartender at Duke’s on Park Avenue South. I made lifelong friends there, women I still am very close with today.

Jenny Lee Stern's family: Penelope "Patsy" Shayne, Daisy Blue, and Nora Bella, plus Violet and Sunday

Is there a person or people you most respect in your field and why?
Honestly, any mother. Being a “Broadway Mom” (especially a single mom) is certainly not for the weak. The hours are endless, the balance is brutal, but the rewards are many. Moms in the business definitely have a bond like no other. Others will truly just never, ever “get it.” So shout out to all the badass Broadway Baby Mamas out there! I think one of the greatest things a mother can do for her child is giving them the opportunity to watch their mom live her dreams to the fullest.

Tell me about a job/opportunity you really wanted but didn’t get. How did you get over that disappointment?
Many I’m sure. But I’m in a place in my life where I can truly accept that everything happens for a reason and what’s meant for me will not pass me by! That gets me through.

What advice would you give your younger self or anyone starting out?
If you’re good at anything else, do that instead! Unless you have an intense burning passion for performing and storytelling, do something else. It’s very very hard. There’s nothing wrong with being a community theatre star with excellent benefits and a steady job! The life of a professional theatre performer is certainly not for everyone. Also, get good at video/audio/lighting/editing. I suck at all of these things, and self tapes are a constant nightmare for me.

What do you wish you knew starting out that you know now?
Number one, I wish I knew about the money. No one is in the theatre for the money, honey. Once in a while, those amazing high-end jobs come around, but in NYC even some of the highest level theatre jobs still have actors living from check to check. Especially if you’re a parent. And again, this biz is unlike any other career. The highs are high, but the lows are low. And like I said, it’s not linear. You don’t start in the mailroom and eventually become the COO. You might swing a show, then star, then be in the ensemble, then not work for two years, then back to being a standby, then land a hit TV show for a few months, then work regionally, then back to Broadway… It’s wild. Unpredictable and maddening but, man… there’s nothing like those highs! And if you can carry that feeling and attitude through the lows? You’ve got it made, babe.

What is your proudest achievement as an actor?
Balancing it with motherhood. Period. When my kids are proud of me, that’s all that matters to me. Everything is for them. Period. Well, and being in the cover of the New York Times art section was pretty cool, too.