My worst moment: Vanessa Williams and overcoming a sour stomach (yes, there was hurling)

One of Vanessa Williams’ early iconic roles was in the Chicago-set 1997 movie “Soul Food,” and not long ago on TikTok she hilariously recreated a heated, expletive-laden scene from the film using her real-life family (and dogs) as co-stars.

Williams has always had a sense of humor about herself and it translates on screen, whether it’s on a show like “Ugly Betty” (for which she was Emmy nominated three times) or “Desperate Housewives.”

Her career also includes work on stage and despite the pandemic, Williams has found ways to continue performing, including her upcoming concert on Saturday, “Live from the West Side: Women of Broadway.”

Williams is a theater veteran and when asked about a worst moment from her career, she replied: “One example of fortitude was when I was doing ‘Kiss of the Spider Woman’ on Broadway.” It was her Broadway debut.

My worst moment …

“This was in 1994 and there was a stomach flu going through our cast. I had a lot of dancing that I did in this show, it was a very strenuous part. I wore a bodysuit and on top of the bodysuit, all of my quick (costume) changes would be me stepping into a feathered number or a gown or whatever.

“And one night, I knew I was not in tip-top shape. You know when you have a sour stomach? Well, in the first act there’s a song that I have to do called ‘Gimme Love’ and I’ve got on feathers and a headdress and it’s kind of a showgirl number. And I come out in a cage that’s spinning.

“And I can feel my stomach go. And I was like, ‘Oh no, this is not good.’ I’m surrounded by oiled up sweaty guys that are singing, ‘Gimme love! Gimme kisses! Gimme love!’ It’s a very sexy number and it’s a showstopper.

“Well, I couldn’t get off the stage fast enough. And when I did, I was hurling into a trash bin. And then basically brushing my teeth and going back on. I had tons of makeup on so you couldn’t tell if I was green, but you could hear my stomach gurgling. I just wanted to get through it, which I did, and I was back the next day.

“The same thing just happened to me, I just did a concert for PBS that will be out around Christmas time and it’s all Ella Fitzgerald music, her swinging Christmas album. I had a great rehearsal (laughs) and then we went to one of the few restaurants that was open and I had an appetizer and then I had pasta with clams and mussels and all kinds of delicious seafood. And later that night I was like, ‘Hmm, something’s up.’ And I was hurling until 6 in the morning, which was show day.

“So I was obviously tired and weak. But you have to put on a show! So they got me some saltines and a ginger ale and I cranked it out and then went home to sleep.

“It’s a prime example of, the show must go on. The show’s not stopping for me.

“People will say, ‘Wow, your work ethic is so great.’ And it’s certainly from my parents, who had a tremendous work ethic. But it’s also life. I mean, life’s not going to stop for you. And people paid money to see a production and I’m going to give it my best to continue. And I guess it’s just fortitude, which I admire in other people when they have the same kind of grit.

“Now I guess it’s considered old school. People are like, ‘Oh my God, you do your own hair and makeup?’ and I’m like, ‘Yes!’ That’s part of me being a professional. I show up, I’m prepared and I have a varied skill set that allows me to do music and dancing and acting. That’s why I think I’ve lasted so long in the industry.”

Q: But isn’t this what understudies are for?

“Yeah, we had understudies. But (laughs) my mother tells a story of my father, who never missed a day of work, dropping her off at the hospital when I was born and he said, ‘Call me when something happens.’ My dad was a music teacher and he had to go to school — being responsible was really important to him. It’s one of those things that’s in our blood.

“I started doing theater in middle school and high school and then of course I majored in musical theater at Syracuse University. The curtain’s up at 8 o’clock and half-hour is called at 7:30 and if you’re not there you get docked and you lose your job. So your livelihood relies on you being prompt and prepared. If you fail in front of a live audience, you’re failing big time. And you’re failing everyone around you because it’s an ensemble. So whenever people are like, ‘You do this eight shows a week? This is hard work!’ I’m like, ‘Yeah, that’s what it is. Welcome to our world.’

“I think it’s adrenaline that pushed me that night and it’s also knowing people paid to see me in a show on Broadway. When I did my put-in — which is your dress rehearsal — for ‘Kiss of the Spider Woman,’ I had a huge gash in my knee that was bleeding through the whole second act that I got because I was in a harness and a spider suit and I was pulled up and was flown off stage and my knee banged into a metal bar.

“But we had the whole orchestra there and the whole ensemble there and that was my opportunity to run through the show, so we noted the gash and then I said, ‘Let’s go,’ and we finished it. I still have a scar on my knee from that, but we did it.”

The takeaway …

“That I’m a pro (laughs). I like to be revered as a pro, I like to have that reputation.

“I’m not blaming anyone for being injured or losing their voice. Sometimes that happens. And if I’m going to do a horrible show — if I can’t move or sing — then that’s not fair to the audience and you have to have the understudy step in. But I know how disappointing it is to go to a show when the lead is out and there was all this buzz because this person is spectacular, and then you don’t get the chance to see them. So I always feel like when your name is in lights and people want to see you, if you dig deep down you can always find the will.”

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