Broadway Throwback: Sierra Boggess
When the tour of Sunset Boulevard came through Denver, Colo., Sierra Boggess sat in the audience in amazement. Years later, she took the stage in front of a global audience in the 25th Anniversary Concert of Phantom of the Opera.
Photography by Matthew Murphy
After working for years, you made your Broadway debut in grand fashion, as Ariel in Disney’s The Little Mermaid. What was that opening night like for you?
I have that night burned into my memory. When I came out on stage for the first time in our first preview, I skated on and the audience applauded. It was the first time I’d ever had entrance applause. I knew in that moment I could never go back. You only get one first time.
After the bow on opening night, when the curtain came down, I felt such support from the cast. My director, Francesca Zambello, who was also having her Broadway debut, came out onto the stage and she and I hugged for what felt like hours. We were just honoring each other and it was one of my favorite moments.
You played Christine in the 25th Anniversary of Phantom of the Opera concert in London, seen in movie theaters all over the world and now available to millions on Netflix.
That was pretty extraordinary. Walking out for that bow, I felt like I had just left my artistic soul on the stage at the Royal Albert Hall. I had nothing else to give and it felt so good. And walking down with Michael Crawford, one of my personal heroes, was something I will never forget. It was what dreams are made of and was really special.
You were a part of another Phantom celebration as well.
When we did the 25th anniversary on Broadway, Hal Prince came out, and he’s been like my surrogate grandfather. While the confetti cannons were going off, he wrapped his arms around me to take it all in. It’s [things like this which] I’d dreamt about as a kid and majoring in musical theatre in college.
Look out for Sierra in School of Rock this winter on Broadway!
Hair & makeup by Alex Michaels
Styling by David Withrow
Photo assistance by Carlos Gonzalez
First printed in BLEEP Magazine Issue 310