Betsy Wolfe Biography
Betsy Wolfe is an American actress and singer. She is known for her work on Broadway as Cordelia in Falsettos, Jenna Hunterson in Waitress and Rosa Bud in The Mystery of Edwin Drood, as well as for her Off-Broadway appearance as Cathy Hiatt in The Last Five Years.
Betsy Wolfe Age
She was born on 1 June 1982, Visalia, California, United States. She is 36 years as of 2018.
Betsy Wolfe Husband
She is married to Adam Krauthammer.
Betsy Wolfe Career
Wolfe played the role of Evelyn Nesbit in the Papermill Playhouse, Millburn, New Jersey production of Ragtime in 2005.
She performed the role of Cathy in the Off-Broadway revival of The Last Five Years, which ran at the Second Stage Theatre from March 7, 2013, to May 18, 2013.
Charles Isherwood, in his review in The New York Times, wrote that Wolfe has “a bright, strong soprano with a keen belt. With her wholesome blond beauty, she is well cast.”
In 2014 she appeared on Broadway in the musical by Woody Allen, Bullets Over Broadway as Ellen. The CurtainUp reviewer wrote: “She also has little to do like David’s girlfriend Ellen but, like Ziemba, when she does get to sing it’s lovely.”
She appeared in the new musical Up Here at the La Jolla Playhouse, La Jolla, California in July 2015. The musical is written by Robert Lopez and Kristen Anderson-Lopez. The Variety reviewer noted that Wolfe “is charming in her role and even sings the hell out of such banalities as ‘I feel like I’ve always known you.’ “
In May 2016, Wolfe played Elsa in the lab production of Disney’s Frozen.
She appeared in a reading of a new musical titled Flying Over Sunset by James Lapine (book and director), Tom Kitt and Michael Korie. The reading took place at the Vineyard Arts Project, Edgartown, Massachusetts, on July 29, 2016, with additional cast members Marin Mazzie and Boyd Gaines.
She played the role of Cordelia in the Broadway revival of Falsettos, which ran from September 29, 2016 (previews) to January 8, 2017. She joined the cast of Waitress on Broadway on June 13, 2017, in the role of Jenna. She left the role on January 9, 2018.
In June 2018, she played Rosemary Pilkington for a limited engagement of How to Succeed in Business Without Really Trying at the Kennedy Center in Washington, DC alongside Michael Urie, John Bolton, John Michael Higgins, and Skylar Astin.
Betsy Wolfe Concerts
Wolfe appeared with the Cincinnati Pops Orchestra, directed by Erich Kunzel, at Carnegie Hall on April 1, 2003. In 2016 and 2017, Wolfe appeared with Darren Criss and Adam Kantor, respectively, in The New York Pops’ concerts “Best of Broadway” and “Women of Notes.
In Dedication to Female Composers and Lyricists” at Carnegie Hall, with appearances by Robert Lopez, Kristen Anderson-Lopez, and Jason Robert Brown, and by Sara Bareilles, Ingrid Michaelson, Georgia Stitt, and Shaina Taub, respectively. She also frequently performs the music of newer musical theatre writers in concert, including Ryan Scott Oliver and Zack Zadek.
Wolfe appeared in the Metropolitan Opera production of Die Fledermaus as “Ida”, with a new book by Douglas Carter Beane. The opera opened on December 31, 2013, and also starred Paulo Szot as “Dr. Falke” and Danny Burstein as “Frosch”.In November 2017 Wolfe performed at the Houston Symphony with Jeremy Jordan.
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Betsy Wolfe Interview
BWW Interview: Betsy Wolfe On HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING at The Kennedy Center
Betsy Wolfe stars as Rosemary in the Kennedy Center’s Broadway Center Stage production of “How To Succeed in Business Without Really Trying,” which opens tonight.
Wolfe is known for a number of roles including Cordelia in the Broadway revival of “Falsettos” and her recent run as Jenna in “Waitress.”
Have you performed at the Kennedy Center before?
Betsy Wolfe: The last time I was at Kennedy was with Darren Criss in Broadway Today. I thought it was stunningly beautiful, and this was the perfect opportunity to return.
Given that DC audiences are a bit more on the political side, how did you approach a revival for a show like, “How to Succeed,” especially in the age of #metoo? Since that the show features songs like, “Happy to Keep His Dinner Warm” and “A Secretary is Not a Toy,” was it challenging to work on a revival that’s cognizant of this but is also true to the original?
Betsy Wolfe: It wasn’t lost that it would be viewed this way, but I think it’s a perfect show to do right now. The themes really resonate with people, and the book is a strong story that I think holds currency today. There are ramifications for bad behaviors, and I think it’s really ahead of its time. If you look at the female roles, it really addresses the current political climate. The women have agency in their environment, and their actions are motivated by choice as much as they can in the time they’re in. I’m really proud of what we’ve done to show that, and I think the story resonates.
You recently came off a Broadway run playing Jenna in “Waitress,” who’s a character in a new show and is viewed as a bit of a feminist figure. How did preparing for Rosemary, in a revival set in a time when expectations for women were quite different, differ from that experience?
Betsy Wolfe: The only time I saw “How to Succeed” was the last Broadway revival in 2013; I actually forgot about the song [“Happy to Keep His Dinner Warm”] until I opened the script. But I think I understand her more – in any other world or show, it would be Rosemary’s story. She’s Finch’s equal, trying to climb the ladder and be as successful as she can be. She’s just as powerful in crafting her life. We know it’s not good enough for her to just keep his dinner warm, but it’s not as literal as that. And we got a little creative to show that.
How does it differ preparing for newer material, like “Waitress,” versus a revival, like “How to Succeed”?
Betsy Wolfe: Even though there have been many revivals, I’m not as familiar with the previous ones, which helped me approach it without preconceived notions. The script is well-written, and it still lands today. We worked to be truthful to the material and what it means now. Sure, there are some parts that don’t feel they apply anymore, but they’re worth revisiting as well. In some ways, the show is more relevant now because of how it explores the ramifications of trying to climb up the ladder. I think it transcends.
I think it’s important to strip away preconceived notions about the show and approach it with fresh eyes. Marc [Bruni, the director] has given us new ways to look at it.
Kennedy Center’s Broadway Center Stage is a much shorter run than most shows – what was it like working on a show with a limited run?
Betsy Wolfe: It’s incredible – the production value is great, it’s far more than music stands on a stage. It’s more like Encores! [at New York City Center]. It’s really special – we even have a 17-piece orchestra, which is rare even for big Broadway productions these days. You don’t want to miss it. I’m excited for people to see it.
Adopted from:https://www.broadwayworld.com