She had a realization.
Richards, a wonderful humanitarian who was genuinely committed to assisting the underrepresented, died of esophageal cancer. She was renowned for becoming the second woman in 160 years to deliver the keynote message at the Democratic National Convention. She was as stern as she was witty. We can perform if you give us a chance, she assured the delegates. After all, Ginger Rogers performed all of Fred Astaire’s moves. She simply performed it in high heels and backward.
Taylor was significantly impacted by Richards. “I appreciated who she was. She possessed the rare ability to be both soothing and human while commanding, “Take that hill!” She was a mother, a general, an angel, and a leader, Taylor added. She had a strong desire to be fair. She had a strong sense of empathy for any individual or underrepresented group. She believed that government should be made up of people who resemble the general populace and should reflect that demographic. She cherished humankind, life, and the values of universal freedom.
She was forced to pull over while traveling to work. “A calling came to me. According to Taylor, it was similar to being on the road to Damascus. “With my dejected thoughts and awareness of what a loss it was to the country that we lost that voice, I had been wanting to do something creative about her.”
Taylor pondered Ann Richards’ interpersonal skills. And it was in her automobile at that precise time that she realized she had to create a live one-person play that was an unvarnished depiction of the late governor. “I was then in my mid-sixties. It’s not like I constantly had the idea to compose plays, says Taylor. She never would have dreamed that she would perform a solo play on Broadway, not even in her wildest fantasies. Taylor explains, “But for 15 minutes I was inundated with ideas on how to achieve it. “I then turned on the car and headed for work. I never turned around.
The following few years saw Taylor delving deeply into Richards’ life. She spoke with a large number of her friends and colleagues, including Richards’ kids. “I read through her speeches and writings in search of her identity rather than a history to relate. I wanted to let people know who she was,” says Taylor. She had the idea of making a holograph that would replicate the late governor. “Some of the traits of her potential to inspire would travel with the hologram if it was authentic if I actually captured her. The show would inspire others to live full and responsible lives in a same joyful way that she had.
Ben Endsley Klein, Taylor’s director, debuted ANN at Galveston’s Grand 1894 Opera House in 2010. The play also enjoyed success in Chicago, at the Kennedy Center in Washington, DC, on Broadway at the Vivian Beaumont Theater at Lincoln Center, and in other locations across the nation. Taylor and the show both received Tony nominations.
This month, BroadwayHD, which streams the video, debuts the live theater production of Ann. “BroadwayHD is a forward-thinking business. Every minute, their library grows bigger. And anyone, anywhere in the globe, can view any play that is available in their library. It’s extremely reasonably priced and functions almost like Netflix for plays, says Taylor.
Director Benjamin Endsley Klein oversaw an introduction and post-film discussion with Holland Taylor and Cecile Richards, the daughter of Ann Richards, at a recent reception and screening of ANN at the Elinor Bunin Munroe Film Center. In collaboration with BroadwayHD, Spoon Films, and Pink Granite, the event was hosted by Cecile Richards, Julianne Moore, Cynthia Nixon, Tina Brown, Rosie O’Donnell, Martha Plimpton, Sandra Bernhard, and Andre Bishop.
