IDINA MENZEL
The Frozen and Wicked multi-platinum-selling singer-songwriter and Tony winner took a break from Broadway and the silver screen to write and record the original music being released on her new album Drama Queen (in stores and digital download on Aug. 18). Menzel, 52, is showcasing her powerhouse vocals in a new-to-her genre of music with electro-dance-pop anthems, funky grooves and a disco-infused vibe.
The songs on Drama Queen are different from previous music you’ve released. Why did you decide to go in this direction?
I wanted to make music that was fun, that grooved, that people would get up and move to. I’ve played a lot of gigs where I’d go in the middle of the night to a gay club, show up, thousands of kids up against the stage, we’re singing, we’re dancing, we’re crying, we’re reminiscing. I could practically stage dive if I had to. That connection, the energy in the room is so electric. There’s something about that that I’ve always wanted to return to, to have that kind of music on an album.
Not only do I love that music but the singers that I’ve loved, that I grew up listening to—Donna Summer, Barbara Streisand, Cher even returned to a dance phase and had one of her most successful eras—that music really lends itself to big, melodic, dynamic voices. I felt like I can still do what I’m known for and sing in a way that resonates with people and yet have this musical foundation that can make it really fun.
Then I called [record producer] Nile Rodgers, who’s a friend of mine, and asked him if—even though people perhaps put me in a box because they think I’m from the theater—could it be as organic a transition as I was thinking it was for myself? He totally endorsed it. He did Diana Ross’ dance stuff. So, I just went for it.
Are you okay with being labeled a drama queen?
I am. I’m putting a positive spin on it. What’s wrong with having big, bold emotions? What’s wrong with being passionate and fiery and then very sensitive and vulnerable? What’s wrong with being theatrical at times? To me, the most theatrical people were the Annie Lennoxes or the David Bowies of the world. That’s theatrical, that’s dramatic, that’s larger than life. But all of those emotions are what makes us who we are and what make us interesting. I’m reclaiming the word.
Who were your collaborators on this?
I just surrounded myself with incredible songwriters and producers. Nile Rodgers, Jake Shears, Jim Eliot, Justin Tranter, Laura Veltz, who’s a Grammynominated songwriter. Sir Nolan, another one. I find writing alone is lonely. I like feeding off people. I think that might be my theater background; I like a cast, I like a community of people. I like collaborating, I like that energy you get from other people.
I don’t like the pressure of completing a song. I never know when it’s finished. I don’t have that in my DNA. I just like to give you the kitchen sink and then have other people tell me that’s a gem, or that’s a chorus, or that’s the title.
You were probably born singing, but when did you know that your voice was something special?
I
was born singing. I always had such a really strong sense of myself, especially when I was younger. It’s worse now. The older you get, the more eyes you have on you, the more success you have, the more scrutiny and pressure, the more the fear of failing. It’s funny, when I was younger, I dreamed big. I had this feeling deep down that I had something
that I deserved to share with the world. There was a real strong sense of that. When I’d come up against it or be rejected in some way, there was a determination, there was this ferocity like, “I’m going to show you.” I’d get back up much easier than I do now.
You’ve been performing at a lot of LGBTQ+ clubs?
I’ve done West Hollywood, we did D.C., St. Louis, St. Petersburg, Chicago, and then we just came back from London, which was incredible. We did thousands of people in Trafalgar Square. We had the most wonderful time. The crowds have been incredible and it’s exactly what I wanted to do. The reception to the music has been incredible. The music is this great conduit to the LGBTQ+ community. It’s an opportunity for me to express my gratitude to my friends and my family and this community who honestly have inspired me and taught me how to be the kind of person I want to be.
Tell us about your clothing line, Encore by Idina Menzel, on QVC.
Honestly, I’m a completely different person off the stage, off the red carpet. I really don’t like a lot of fuss. I never felt comfortable styling myself. I wanted to create a line that you could go in your closet and pick out a couple foundational pieces that work together. It’s effortless, you feel good, the fabrics are super comfortable, I can travel in them and I don’t have to change. I can drop Walker [Menzel’s 13-year-old son with ex Taye Diggs] at school in the morning and then elevate the look with just a change of shoes and I’m good to go.
Your big break on Broadway was Rent. Since then, you’ve started A BroaderWay foundation to give back. What’s the goal?
When I was young, I went away to summer camp, sleepaway camp. It was a way of redefining who I was outside of this homogenized community that I was growing up in. I loved it so much. It was a sanctuary to me.
As I got older, of course, I realized how lucky I was to get to go to camp and I wanted to give that experience to other young women. My best friend in college is more of the business-minded person and she said, “Enough with this dream you have. Let’s do this already.” She galvanized everyone in our lives and we’re on our 12th year already.
We started with 30 young girls from urban communities and now we’re up to four different classes and programs. Our girls from years ago are now counselors and on our board. They come back and give back. There’s this wonderful reciprocity.
What do you have left to do that you want to do?
Most of the things that I feel have eluded me are about parenting and the kind of mom I want to be, the kind of woman I want to be in my 50s, how do I want to conduct myself and be happy. It’s more about learning more about myself, honestly.
Do you still get nervous when you perform live?
Every time. Someone told me you get nervous because you care. I’ve learned that you have to make yourself vulnerable in order to connect with your audience. You have to take risks and that’s super scary, but it’s the only way. It’s what draws people to you, your authenticity, your mistakes, all of that are what make you seem real.