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Q&A: Meet Tony Nominee Condola Rashad of ‘A Doll’s House, Part 2’

Category Starring on Broadway

|by Jeryl Brunner |

Go behind the scenes with Tony nominee Condola Rashad

Condola Rashad was nominated for a Tony Award for her role as Nora’s daughter Emmy in Lucas Hnath’s new play, A Doll’s House, Part 2. During the play, the Billions star performs alongside Laurie Metcalf, Chris Cooper and Jayne Houdyshell.

Laurie Metcalf, Jayne Houdyshell, Chris Cooper and Condola Rashad attend the 2017 Tony Awards (Photo: Jason Kempin/Getty Images for Tony Awards Productions)

Laurie Metcalf, Jayne Houdyshell, Chris Cooper and Condola Rashad attend the 2017 Tony Awards (Photo: Jason Kempin/Getty Images for Tony Awards Productions)

What did you think when you heard about A Doll’s House, Part 2
Condola Rashad
: I was filming Billions at the time. And I remember saying, okay, well, I have to figure this out because I have to do this play. That was my personal experience with it. I thought the material was so important but also incredibly engaging. And it was something that I couldn’t wait to get on stage to do.

Was that there a moment that you found especially challenging?
: All of it. Not to say you never quite find it, but this is the kind of play where there’s almost no such thing as a comfort zone. The minute you think, I got that nailed – nope, it didn’t work today. Nope. There’s always something else. What I love about the play is  that as an actor, it keeps you on your toes. You can never sit back. And it has been that way since day one of rehearsal.

What was one of the first Broadway shows you saw? 
: I have been going to the theater since I have been old enough to talk. I was very young. But I believe the first Broadway show I saw was Cats. My mother [Phylicia Rashad] told me that during the show I broke away from her and started doing pirouettes down the aisle. Then the audience started to clap.

What was one of your earliest memories performing on stage? 
: I actually didn’t do a lot of theater when I was very little. But I do remember one of the first professional productions where I made it onto the stage. I was not in the production. but my mother was doing a Kenny Leon directed play in Atlanta. I had memorized the transitions. I just would always watch it back stage. And there was one transition where the lights were come down to a blackout. And there was a blackout for quite some time. And there was music playing during the blackout. 

Then, very, very slowly the lights would come back up. I somehow managed to crawl onto the stage during the blackout. And I remember that because I would crawl as far as I possibly could and just look out into the audience. And there was nothing more thrilling than knowing that they couldn’t see me but I was there. I think that is when I decided this was what I was supposed to do.

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