'Dream Big. Build Higher' -- Director Cady Huffman on 'Empire: The Musical'

In the early 1930s, New York City saw a race to the sky. It came with the construction of three Art Deco towers that competed to be the city's tallest. First came the battle between 40 Wall Street and the Chrysler Building, with the Chrysler Building attaining supremacy with a trick – hiding its tall, ornate spire inside its structure only to be revealed after its rival capped at 927'. But the Chrysler – at 1,046' – was the world's tallest building for just a short time. With last minute revisions, the Empire State Building achieved the height of 1,250'. It also was built in record time – 13 months – and became a symbol of hope as the Depression overcame America (and derailed the plans for rival towers being built). It was the world's tallest building until the World Trade Center was built in 1970.

Of all the world's skyscrapers, none has a more romantic reputation than the Empire State. While its building captured the nation's imagination, it was the unwanted visitor from a 1933 film – King Kong – that solidified its status as an American icon. Since then it has appeared in some 250 movies and has long been a must-visit tourist attraction due to the popularity of its two observation decks. It was on one of those that Gene Kelly (and cast) danced in "On The Town" (1948) and Cary Grant was supposed to meet Deborah Kerr in "An Affair to Remember" in 1957.

The building's accelerated construction is the stuff of legend; and is the subject of "Empire: The Musical," currently off-Broadway at New World Stages through September 22. As conceived by Caroline Sherman and Robert Hull, who wrote the book, music and lyrics, "Empire: The Musical" offers a mix of real-life figures – including NYC major Jimmy Walker and governor Al Smith, and composite characters – notably Frances "Wally" Wolodsky, Smith's female assistant who became the project's 'can do' manager. In addition to the planners and politicians, there are the stories of the workers themselves (some 3,500), including the legendary Mohawk Indians who dared the heights without safety precautions to help bring the project in on schedule. Some six workers died over construction, which is included in the musical.

Cady Huffman is best-known for her 30-years as a performer, including her Tony-winning turn as Ulla in "The Producers;" what is less-known is that she is a writer and director as well. In this interview, she recalls having played in a workshop of "Empire: The Musical" some decades ago and how her insights to the creative team at that time led them to reach out to direct their project at New Worlds Stages, the theater complex adjacent to Broadway for a New York run through September 22. For more information on "Empire The Musical" and to purchase tickets for the show, visit the show's website

EDGE spoke to Huffman about what drew her to "Empire: The Musical," and what the term 'Dream Big. Build Higher' means.

EDGE: What drew you to the theater?

Cady Huffman: Oh, gosh, I don't think I had any say in the matter. I came out singing and dancing. My mother tells me there wasn't a moment when I wasn't doing this and begging to be in classes. As a toddler, I begged for ballet classes, singing classes, and to be in plays and musicals. I took my first acting workshop at age six. I started ballet classes at age seven and started studying voice at nine. I'm not sure it was much of a choice.

EDGE: You've done theatre, film, and television. How did you pivot to directing?

Cady Huffman: I directed my cousins in the living room when we were little. I've always loved the big picture, and I have had the opportunity to work with truly iconic directors over my career, including Arthur Laurents, Bob Fosse, Tommy Tune, Stephen Frears, and Blake Edwards. My brain loves to learn. To be able to pick up things and have discussions with these unique minds has been truly amazing. I've been directing for a long time, but for some reason, nobody's noticed. A few people have noticed because they continue to ask me to do it. I've directed for Broadway Cares - directing them and developing numbers for them. I'm ready for people to think of me more solidly as a director.

EDGE: Why did you choose to direct "Empire"?

Cady Huffman: I'm not sure that was a choice either. I did a reading for Lincoln Center about 13 years ago, where I played one of the characters. It was super fun and directed by Matt Lenz. I enjoyed being a part of it, but then it went off without me. It went through a whole bunch of different incarnations, and then one day, I bumped into Caroline Sherman, creator of "Empire," at a show. We were seated next to each other and had a little reconnection. Then, at the end of last year, she called and said, "We have the property back. We love what you did 13 years ago, but more than that, we love what you said about the piece. So, we would love you to direct it. Would you like to do it? I said, "Absolutely." Not really thinking much of it. I love working on things, and we went through the piece dramaturgically. Then, we did a reading. Shortly thereafter, I was told we had a theater. I immediately thought, "No, no, we need more time." But realized it's one of those things that you have to say, "Oh well, this is the time we have; this is the chance we have. Let's do it."

EDGE: Tell us about translating this story to the stage.

Cady Huffman: Everybody knows it – the Empire State Building -- got built. That's not the big reveal. But the story of how it got built is very interesting. It began at the start of the Great Depression during what was called the Race to the Sky. The Chrysler Building had recently been built; and it was thought that the Stock Market crash would end plans for any other skyscrapers. But the people involved with financing of the Empire State Building said, 'Let's do it.' And, despite the Depression, they planned on finishing it in 14 months. It was a crazy and unheard of plan. But what was important are the people who built it – these humble people who don't get any credit for doing some incredible work. Then, of course, there are the Mohawk Indians who became legendary for walking the high beams. What they did was extraordinary. There's this whole lore about the ironworkers and the people who walk on those beams up in the sky. They were people whose stories interested me, as did the building itself. It became an icon not only because of its stature as the world's tallest building, but because it was the first building where the public was allowed inside. When they built the Chrysler, that beautiful building, a year earlier, no one was allowed to go past the lobby. Whereas the Empire State Building built observation decks so everybody could go right up in it and look at the world. Even King Kong came over for a look. I think there's something beautiful and romantic about the building. I really wanted to tell the story of the real people who built it.

EDGE: Were you able to speak to any relatives of the original builders?

Cady Huffman: My writers, Caroline Sherman and Robert Hull, have spent a lot of time researching, particularly the Mohawk culture, because we wanted to be as accurate as possible and hire native American actors. It was important to respect their culture, and we have Mohawk consultants who are loving, truthful, and joyful and help us find our way in telling the story.

EDGE: Tell us about the music?

Cady Huffman: The music is great, and there is a diverse selection of songs. There are a lot of different types of songs. I always say we sing in musicals when it's no longer enough to speak. I think that's why people respond to musicals so much; when you don't know what to say, you should sing. I don't know why everybody's always not bursting into song. That would make perfect sense to me, but most people don't. So, you go to the theater to get a burst of emotions you may not otherwise get. The songs have different styles and feel for whatever character is singing, whether it is the laborers or the ironworkers. They each have their own their own sound.

EDGE: What is it like directing a play in New York City about a building in New York City?

Cady Huffman: I've always said it's the center of the world. I love New York City. I don't live in New York anymore, but I know it well, and it still feels like my town. When you get to know New York, New York gets to know you. There's just such a vibrancy and excitement about the city. I've traveled worldwide and can't think of another city with its allure. I'm thrilled to celebrate New York.

EDGE: What are the challenges of directing a play based on real events?

Cady Huffman: I really count on my writers for that because we have some historical characters. We have Al Smith, John J Raskopf, and Wally Wolosky, who is based on two women. I'm directing their show. When I saw "Hamilton," I thought I was getting a history lesson; but then I read Hamilton had eight children, not just Philip. So, I'm not getting a history lesson, and remembering that this is a suspension of disbelief and there's artistic license involved. A lot is going on, and my brain tends to be a little pedantic - one thing happens after the other; although I love directing abstractions, there are story telling challenges. You must decide how you want to tell the story. What's the real story? What's the emotional part of the story as opposed to the historical lesson parts of the story?

EDGE: I love the tagline, 'Dream Big. Build Higher.' What does that mean to you?

Cady Huffman: As I get older, it means something different now than it would have meant in my twenties or even my thirties. I'm just barely in my 50s with my 60s soon to come, but I've learned that it's never too late to dream. I reinvented myself several times because I had to do it. I love change. I know a lot of people want to stay in the same job. Believe me, I get very excited when I have a paycheck every two weeks, but it doesn't suit me to stay with one job. So, dream big and build higher. There's a spiritual aspect of that for me. What am I? What do I really want to put out in the world now? What sort of message do I want to put out there? It's not about making money and becoming famous like it was when I was younger; I thought that was so important. Now, it's what do I want to put out there? What messages do I want to put out there? Do I want to use my power for good? And I do.

EDGE: What do you want the audience to take away from the show?

Cady Huffman: I like to direct things that bring up questions. I hope they will want to know more about the building and the many cultures we represent in the story. Also, like the building, things work when you come together when you're on a team and have each other's backs. This relates to all things in life.

For more information on "Empire The Musical" and to purchase tickets for the show, visit the show's website. "Empire" continues at New World Stage in New York City through September 22nd.