
Renée Elise Goldsberry dishes on her childhood disco basement – and where she keeps her Tony
Reminded of the moment, she squeals. "I didn't know the (TV) audience could see that! But I do absolutely love him and I was so grateful to just celebrate the love. That all of (the original cast) was there meant the world to us and that is a blessing that doesn't exist without Lin."
The luminous Goldsberry, 54, owns a lengthy resume spanning film ("All About You"), TV ("One Life to Live," "The Good Wife," a background singer on "Ally McBeal") and theater ("The Color Purple," "Rent").
But it was her Tony Award-winning turn as Angelica Schuyler, the sister-in-law of Alexander Hamilton, that catapulted her to mainstream stardom.
Her most high-profile role since leaving the show in 2016 also showcased her comedic deftness – playing Wickie Roy, the endearingly self-centered "fierce one" in three seasons of "Girls5Eva," the Peacock-turned-Netflix series about a '90s-era girl group attempting a modern reboot.
The character spotlighted Goldsberry's vocal prowess. But her recently released debut album, "Who I Really Am," takes its title to heart with 12 original pop/funk/soul songs – plus a reimagined guitar-centric take "Satisfied" from "Hamilton" – to underscore her capabilities.
The effervescent Goldsberry tells us about her new music, the albums that shaped her and other essentials.
Renée Elise Goldsberry musical influences include Carole King, Donna Summer
Growing up in the '70s and '80s, Goldsberry immersed herself in the music of the eras. She maintains deep affection for Carole King's "Really Rosie," Stevie Wonder's "Songs in the Key of Life," Donna Summer's "Bad Girls" and, as befitting a theater kid, the soundtracks to "Grease," "The Wiz" as well as, she excitedly recalls, "Fame."
"I played that album and walked around the house like I was reliving the movie," she says with a laugh of the Irene Cara-loaded soundtrack that bore the hit title track and heartrending ballad, "Out Here on My Own."
Renée Elise Goldsberry grew up with a disco in her basement
Goldsberry was born in San Jose, California, but grew up in Houston and Detroit. No matter where the family settled, her father Ron would "put his pennies together" and remake the basement into a disco with mirrors on the wall, disco lights and a massive sound system.
She remembers spinning under sparkly lighting as an 8-year-old to Michael Jackson's "Rock With You," and watching the adults clamor around a basement bar.
"It was a place to celebrate music," she says. "That's how great the love of music was in our house, so it should not be incredibly surprising that it means so much to me."
Which songs on her new album she wants people to hear
Goldsberry jokes that she's "greedy or delusional" when asked which songs on her new album she most wants people to hear. Her hope is that "anyone who needs anything will find something."
Her stylistic shifts from '70s-tinged soul and gospel ("Twinkle," "Who I Really Am") to carefree '80s bliss ("Skate Song") are indicative of her generational upbringing and "decades of listening to radio." In the pre-digital age, music fans had no choice but to listen to various stations and make their own playlists by recording songs on a separate cassette player.
"Because we're making our own playlists now, you can't define anyone by one genre," she says. "The influences are so diverse."
Renée Elise Goldsberry loves French fries – and running
Running is more than exercise for Goldsberry. Her favorite thing to do is go outside, breathe the air and pick the furthest spot as a goal to reach.
She's been trying to find time in the midst of album promotion to "run up a hill" because "it fills my soul."
Goldsberry also tries to eat healthily, but don't put a French fry near her and expect it to go uneaten.
"I found Sara (Bareilles) at Cynthia (Erivo)'s Tonys afterparty and someone walked by with a container of hot fries and I was like, 'This is heaven!,'" she says with a contented sigh.
Renée Elise Goldsberry believes in celebrating awards
Her own Tony and Grammy (also for "Hamilton") are kept in the piano room in the parlor of her New York home. But, she specifies, her hardware is no more important than the other trophies brought into the house.
"Every award everyone gets sits above the fireplace," says the mom of teens Benjamin and Brielle with husband Alexis. "I feel like when you're a parent, there is not a place for a shrine to you, but it is important to celebrate. It feels good to see these things around in your home."
What Renée Elise Goldsberry learned from playing Wickie
Along with the inherent humor in a pack of personality-fueled women trying to reclaim their moment in pop music, the root of "Girls5Eva" is its lesson in perseverance. It's a mindset that Goldsberry can appreciate.
"I believe in the magic that really fueled Wickie and Dawn (Bareilles, who wrote "Don't Want to Love You" on Goldsberry's album) and Gloria (Paula Pell) and Summer (Busy Philipps). I believe it's never too late," she says.
Goldsberry also credits her stint as Wickie as an influence on her own album.
"It isn't an accident that Wickie came into my life. She doesn't ask herself questions, she just moves forward," she says. "And the actresses who are a part of my life – Sara, Busy, Paula – they all have so much to say. They'll never stop moving forward and putting goodness into the world and that inspired me."
This interview has been edited for length and clarity.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Cosmopolitan
a day ago
- Cosmopolitan
Rachel Zegler and Nathan Louis-Fernand's Relationship Timeline
Big news, everyone: Rachel Zegler and her new backup dancer boyfriend Nathan Louis-Fernand are still very much a thing. A month after making things Instagram official, Rachel and Nathan have been spotted looking very loved-up all over London, which means it's high time to discuss how and when these two first got together. But first things first: Who is this man? Nathan is a professional dancer who has performed in several musicals, including Hamilton, & Juliet, and The Lion King. He also worked on the London performance of Magic Mike Live (!!) and has appeared in music videos for everyone from Diplo to Jesy Nelson to Swedish House Mafia. Now let's talk about how he and Rachel came to be, shall we? Rumors start circulating that Rachel Zegler and her West Side Story costar Josh Andrés Rivera have broken up after just about three years together. Us Weekly later reveals that the two 'quietly split' in late 2024, though the reason for the breakup is unclear. Rehearsals begin for the West End production of Evita, which is where Rachel and Nathan first cross paths. As a source later tells People, the couple 'had an instant connection' and 'started dating early summer.' On July 6, the Daily Mail obtains pics of Rachel kissing a ~mystery man~ (who is later identified as Nathan) at Sabrina Carpenter's Hyde Park show. Two days later, Rachel drops a 20-pic carousel on Instagram, which includes a cute pic of herself and Nathan, confirming their 'ship. And by the end of the month, the new couple was spotted out and about in London walking a cute dog together. Twice already this month, Rachel and Nathan have been papped while strolling around London's Primrose Hill—once on August 4, and then again on August 10. Happy for these two!!


New York Post
4 days ago
- New York Post
‘Hamilton' shook Broadway 10 years ago in a way it hasn't been since
I knew 'Hamilton' was different when, during the first week of previews 10 years ago, Hennessy threw them a party. Not the usual pinot grigio and martinis affair at Angus. No, this hot show was being feted by the French cognac brand beloved by rappers. The atypically luxe early bash for a new Broadway musical with no big names was at URBO, which used to be on West 42nd Street. Creator and star Lin-Manuel Miranda was there with cast members including Leslie Odom, Jr., Renée Elise Goldsberry, Anthony Ramos and Daveed Diggs — dancing and sipping curated cocktails. 4 Ten years ago, 'Hamilton' celebrated its first week on Broadway with a party thrown by Hennessy cognac. Alamy Stock Photo I thought of that infectious mood Wednesday when the hit hip-hop musical about founding father and New York Post creator Alexander Hamilton celebrated its 10th anniversary at the Richard Rodgers Theatre with a reunion followed by a high-energy gathering on 46th Street. QuestLove DJ'd from the balcony. That Hennessy soiree in July 2015 was like being at a Hollywood movie premiere, only none of these people were famous yet. The show hadn't even opened. The Diamond-certified album was still two months away. However, Henny knew history was happenin' in Manhattan. (So did The Post, by the way. We sponsored its off-Broadway run downtown at the Public). That glam night kicked off a year of beaming revelry around town that would make a royal coronation blush. 'Hamilton' soon went on to take over the city and the country. 4 'Hamilton' partied for its 10th anniversary on August the actors, like the original young cast of 'Saturday Night Live' 40 years earlier, became overnight sensations. It was an unbelievably exciting time to be in New York — thanks, in no small part, to Broadway and that musical. Last week's first-decade festivities brought me back to opening night in 2015 when Eliza actress Phillipa Soo stood by Peter Dinklage and Sarah Jessica Parker at Pier 60 as a special fireworks display blazed over the Hudson set to the show's music and ending with 'New York, New York.' ('The Outsiders' and 'Maybe Happy Ending' didn't get one of those.) Or the time Miranda jumped on a stool at the Glass House Tavern on 47th Street the evening his show won the Pulitzer, and bought the whole bar a round of drinks. And that June, when crowds were finally booted from the show's Tonys night victory rager at Tavern on the Green around 7 a.m. when the sun came up. 4 The show electrified New York during its first year. AP Their egalitarian 'Ham4Ham' concerts that here held regularly outside the theater, where lottery winners could get $10 tickets and everybody enjoyed a free show, turned into an event that spilled onto the street. 'Hamilton,' in its lyrics and its onstage and offstage spirit, exemplified NYC at its best: 'The greatest city in the world' where everybody knows 'how lucky we are to be alive right now.' A show about New York, made in New York by New Yorkers. At the moment it exploded, Miranda's musical was — like John's of Bleecker Street or the High Line or the US Open — a point of enormous local pride. Everybody was in a clamor to see it. Disney shelled out $75 million for a video of the stage production. How lucky we were to have a must-see show that enlivened the entire city, whether they could get in or not, instead of today's stuffy plays starring exhausted celebs for the deep-pocketed few. 4 Disney purchased the rights to air 'Hamilton' for $75 million. Christopher Sadowski And no musical, try though they might, has been able to capture the popular imagination in the same way since. 'Hamilton' is still packing 'em in and will for a long time. But Broadway could sure use another one. How much longer do we have to 'wait for it'?


Forbes
5 days ago
- Forbes
Telling The Story Of Tonight—And Beyond
This past week, Hamilton celebrated ten epic years on Broadway. After a joyous performance on August 6—a fundraiser for the Hispanic Federation's Immigrants: We Get the Job Done Coalition and the Public Theater, where Hamilton began—Hamilton producer Jeffrey Seller got onstage at the Richard Rodgers Theatre and addressed the crowd. 'How lucky are we to be in this room right now?' said Seller, who went on to share, 'There's a lot of history around us.' He noted that the Richard Rodgers Theatre was home to the original productions of Guys and Dolls, How to Succeed in Business Without Really Trying, and Chicago. 'But guess what?' he added. 'Hamilton is the longest-running show in the history of the Richard Rodgers Theatre.' More than 100 Hamilton performers, including swings, standbys, and 23 original cast members, stood onstage to honor the show. As Lin-Manuel Miranda made his entrance, he fittingly led with the song lyrics, 'I may not live to see our story, but I will gladly join the fight, and when our children tell our story, they'll tell the story of tonight.' The night was a major milestone for many. For Jeffrey Seller, it marked another professional triumph in his storied career." In Seller's memoir Theater Kid, he recounts how he was taunted for living in a low-income neighborhood just north of Detroit, in a place mockingly nicknamed 'Cardboard Village.' The cheaply made homes could not withstand tornadoes, and their inhabitants were considered just as defective. 'It's the neighborhood where parents have less: less money, less education, less stability. And the kids are deemed less: less smart, less cooperative, less likely to succeed,' writes Seller in Theater Kid. But as a child, he found refuge climbing the massive backyard maple tree that had two giant trunks, strutting branches, and thousands of green leaves. 'I would be Jack, the tree my beanstalk,' says Seller, as he imagined himself climbing to the top of the tree, flying over the clouds, and soaring through the sky. Not only would Seller take flight, he soared to unimaginable heights. A producing legend, his shows—Rent, Avenue Q, In the Heights, and Hamilton—transformed musical theater and won a collective 22 Tony Awards. The only producer who has mounted two Pulitzer Prize–winning musicals, his productions have reached more than 43 million people and grossed over $4.6 billion. A groundbreaking musical, Hamilton seamlessly incorporates pop, R&B, and hip-hop into a Broadway musical. It also inspires new generations to go to the theater. The show also casts actors of color so that a diverse audience can see themselves included in the story of how the nation came to be. As Miranda has said, 'The show reflects what America looks like now.' And if that's not enough, the show's Hamilton Education Program (aka EduHam) incorporates the musical to get high school students seriously juiced about American history and the Founding Era. Inspiring thousands of students from more than 1,300 schools to learn about the show's context in history—and engaging them to create their own creative expressions—EduHam is a springboard for them to make their own magic. In his deeply personal memoir, Seller reflects on his incredible journey from a childhood marked by poverty and pain, with a father who bankrupted the family, to becoming a Tony Award–winning force. Not only is Theater Kid a master class in storytelling, the book is about art, life, and the complexity of family—and having the courage to soar through the sky. Especially when you don't have all the points on your proverbial roadmap figured out. Seller shares the inspiration behind Theater Kid, his evolving relationship with risk and resilience, and how EduHam continues to shape future citizens—on and off the stage. Jeryl Brunner: What inspired you to write Theater Kid?Jeffrey Seller: I have been asking myself for years: How did I get from here to there? From this neighborhood the kids derisively called Cardboard Village—a neighborhood in Oak Park, Michigan, just north of Eight Mile—to doing Rent on Broadway and then to Hamilton. I had no connections, no money. I thought, how do you do it? So this book is my way of answering that question. Brunner: What kept you going when you first got to New York?Seller: Drive. I thought, I will not stop. I will persevere. I didn't use highfalutin words like persevere, but I just knew nothing is going to stop me. I have so much love for these musicals. I have so many ideas. And I had the arrogance to think I was better than everybody else. So I was like, so you better go prove it. Brunner: How has your relationship with risk, rejection, and resilience evolved since those early days? Seller: I have always had courage. It's a quality that I believe is innate. And in spite of my courage, I'm super afraid of rejection. If I'm asking someone to go to a movie and they say, 'I'm not available,' it can be very painful. But finally, through my own late-life maturation, I have gotten over that, where I have finally taken in that it's not about me. Brunner: How did you get over it?Seller: I remember when I was a booker I used to sweat when I would try to sell a one-week engagement of Blood Brothers. If they said no, I would take it as rejection. But I needed to make a living. You have to make the booking. You have to raise the $10 million. I never had a net. If I don't make the rent, no one else will. I moved to New York in 1986. At my first job I made $205 a week. That was $820 a month, minus $400 for rent, minus $120 for the guaranteed student loan payments. So now we're down to less than $300 a month to pay for utilities, subway, The New York Times, and food. When you don't have a net, you make it work. Brunner: This year marks the 10th anniversary of Hamilton. And EduHam, the educational program connected to the show, has connected thousands of students to theater in profound ways and also connected them with history and their own creativity. Why is the program important to you? Seller: We are creating the citizens of tomorrow. Not just the theatergoers. Not just artists, but teachers, doctors, engineers, community leaders, representatives and mayors, cooks and hairstylists. We are creating the citizens of tomorrow. And the most important ways in which I've wanted to use my resources is to help children receive opportunities they otherwise would not have been able to receive. That includes after-school theater programs, college tuition, and EduHam. And the chance to learn American history, see the power of theater unfold on that stage, and participate in its very creation through their creation of scenes and monologues and songs and poems and dances. When we participate, our experience is richer and the outcomes are deeper. Brunner: Theater Kid is filled with so many great stories—like the devastating pain of Rent creator Jonathan Larson's death while dealing with the meteoric success of the show and bringing it to Broadway, or unexpectedly winning the Tony for Avenue Q. What was one of the most challenging sections to write? Seller: Writing the Rent section just kind of came right off of my fingertips on the computer. I have lived with the experiences of developing the show for 30 years now. So it just poured out of me. The hardest part of the book to both write and reread was my father asking 19-year-old me for money. It was very painful for me to read it out loud, and then to do it again with Danny Burstein [who played Seller's father on the audiobook], who was so brilliant. I still cry when I read that because I'm so sad, angry, and ashamed of my father. I'm a 60-year-old man. I have a 22-year-old daughter and a 21-year-old son. And the notion of me showing up and asking them for money is still unbelievable to this day. Brunner: How did writing Theater Kid change you? Seller: It was a catharsis and a great sense of accomplishment. I had wanted to do this for many years. I had been frightened. I was stymied by the question, how do you connect the dots? I questioned whether or not I had the skill and talent to pull it off, and writing it was ultimately an amazing challenge. And by writing the book, my own appreciation for and love for my father grew. While I was holding him accountable for his many decisions and behaviors that harmed our family, I was also zeroing in on any time I ever asked him to take me to an audition. A rehearsal. A performance of a show at another theater. He always answered with the same sentence—because he had brain damage, so his vocabulary wasn't as big anymore. And the answer was, 'Get in the car.' By repeating that quote over and over in the book, I thought, yes. He always said, 'Get in the car.' And wasn't that a beautiful thing?