George Holz Bebe Neuwirth will bring her "Stories with Piano" to The Weinberg Center for the Arts on Friday.

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George Holz Bebe Neuwirth will bring her “Stories with Piano #3” to The Weinberg on Friday.
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From The Weinberg Tony and Emmy award-winner Bebe Neuwirth will entertain audiences Friday evening at The Weinberg Center for the Arts.

George Holz Bebe Neuwirth will bring her "Stories with Piano" to The Weinberg Center for the Arts on Friday.

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You can almost hear Bebe Neuwirth bristle over the phone when you pronounce her name incorrectly.

Even though you’ve recited it time and time again in your head, even though you’ve referred to site-readings online on more than one occasion in ardent preparation even though you know better, because, really, who would pronounce it otherwise the Broadway star’s name nonetheless tumbles out, awkwardly, as “BayBay.”

For a moment, the ghost of Frasier Crane’s stoic ex, Dr. Lilith Sternin, hovers over you, an icy grip on your heart.

But then the interview begins in earnest, and Neuwirth proves herself every bit as warm and engaging as her most famous and Emmy Award-winning creation was not.

Neuwirth received her first Tony Award for her role of Nickie in the 1986 revival of “Sweet Charity,” followed nearly ten years later with a second for her turn as Velma Kelly in the 1997 staging of “Chicago.” (In 2006, she boarded the still-running revival as Roxie Hart.)

Neuwirth’s foray into film has included work opposite Robin Williams in “Jumanji,” and as directed by Woody Allen in the cerebral 1998 comedy “Celebrity.” A lifelong dancer (and honorary Ziegfeld Girl), her “Here Lies Jenny,” featuring music by Kurt Weill, debuted in 2004 at New York’s Zipper Theater to much acclaim.

A new album, “Bebe Neuwirth: Porcelain,” was recently released, while the Classic Stage Company’s spring production of “A Midsummer Night’s Dream” looms, co-starring Christina Ricci.

But first, she brings her most recent endeavor, “Stories with Piano #3” to The Weinberg Center for the Arts on Friday.

A&E: I’ve always wondered — is Bebe your given name? Is it a nickname?

Bebe: Bebe is short for something.

A&E: I understand you started studying ballet when you were ...

Bebe: Five. Yes. And I haven’t stopped since.

A&E: Do you still dance every day?

Bebe: Oh, not every day. Not anymore. But I’m still in ballet class. I still dance. If I stop, it hurts (laughs).

A&E: How did “Stories With Piano” originate?

Bebe: It’s a concert of mostly story songs that I created with my music partner, Scott Cady. We perform songs that are either linear in nature or ... it might be more abstract than that. But they are all stories in some way.

When I play, I tend to focus not so much on the sound of my voice, but on telling the story. ... We look for songs we can really fill out and make clear. They might be funny or sad or bittersweet, but there’s something involved for both us and the audience to grab on to.

A&E: When did you launch the show?

Bebe: Well, I was doing symphony shows that were similar. I think we began in ’08, maybe. So about three years ago.

A&E: How has the show evolved in that time?

Bebe: Well this is “Stories with Piano #3.” There was no “Stories With Piano #2,” which is kind of a Zen joke I have with myself, that only I laugh about (laughs).

It evolves in terms of how I feel it plays. If there are a few new songs that strike my fancy, I think, “How would I fit this in?”

Also, the order in which the songs are sung is not random ... They should be comfortable sitting next to each other. If not, I put something between them.

A&E: Do you see a “Songs with Piano #4” in the future? Five? Six?

Bebe: Who knows (laughs). Maybe.

A&E: I heard you once described yourself as “shy” and “socially awkward.” Was that the catalyst for your entry into show business?

Bebe: I can answer the second part of that question. No, It had nothing to do with that. I’ve just always loved being on stage. I was always more comfortable on stage. Even when I was a little kid. It just always felt much safer than out on the playground. And I guess I could still say that now. But I’m not shy like some people who can’t go out or be in public and can only look at their shoes. It’s just that I might look more comfortable than I actually am.

A&E: And now the question you may be dreading.

Bebe: (laughs)

A&E: Your old ex, Frasier Crane, did OK at the Golden Globes last month.

Bebe: Oh, good.

A&E: Aside from this one, are you still fielding questions about your role as Frasier’s ex, Lilith, all these years later?

Bebe: No, because of how ubiquitous TV is and how great “Cheers” was. It was historically great. It really did a few things that few other shows have done. It treated the audience with a degree of respect ... and there are few shows you can point to that did the same. “Mary Tyler Moore.” “The Golden Girls.” They were not making dumb jokes for the sake of the joke. I was very fortunate to be a part of it. It was that, combined with the series that Kelsey spun off, which kept the spirit going. And like I said, television is ubiquitous. I think back to my childhood, watching “Get Smart” or “Time Tunnel,” and I’m sure there are people out there who can remember watching “Cheers” when they were a kid. So I’m never surprised. And it’s just lovely.

A&E: You’re no stranger to the awards season yourself, being a multiple Tony and Emmy-winner. I have to imagine when you receive that first honor, it’s overwhelming and thrilling. When you hear your name called that second or third time, does it still have the same impact?

Bebe: Overwhelming and thrilling. Yes. It really is. The first time I ever received an award, I could not explain the way it felt. There was no metaphor. It’s a completely stand-alone feeling, and it is surreal. So, thrilling? Yes, but that doesn’t even begin to describe it. Because it touches so many different parts of you, all at the same time, that are unusual parts to be touched in that way.

A&E: Last year, you appeared opposite Nathan Lane as Morticia in “The Addams Family.” What was that experience like not just working with Nathan Lane, but bringing those icons to life on stage?

Bebe: Well, I was very happy to be able to portray Morticia. Like I said, when I was a kid watching “Get Smart,” I was also watching “The Addams Family” and loving Carolyn Jones. Talking of ballet, there was something so classic about her. So graceful and exquisite, like a ballet dancer. Sophisticated. Then, when I was older, I discovered the New Yorker cartoons. So I was thrilled to be able to put on that long black dress and that silly wig and to be that person for a while.

A&E: Along similar lines, I also understand you’re not a big fan of horror movies.

Bebe: What?!!! Where did you hear that?

A&E: I think you were quoted in an interview as saying you were afraid to see horror films. But I have to say you were in one of the most underappreciated.

Bebe: “The Faculty!”

I think if I said that, it must have been part of some press junket for “The Faculty.” Just to be clear, it’s not that I don’t like horror movies. I wouldn’t want anyone to think I was against them or anything like that. I just can’t see horror movies, myself. I cannot see me, in an audience, without my hands over my eyes, watching a horror movie.

But “The Faculty” was one of the most fun times on a movie set I’ve ever had doing any film. [Director] Robert Rodriguez is such a great guy, and such a great talent. And something just happened. I have to imagine that all of his sets are like that.

We all had such a good time. Everybody was so content and fun and good at what they were doing. And, I don’t know if you’ve seen it ...

A&E: Several times. Your character goes through quite a bit in that film.

Bebe: Well, the first time I get killed — I get killed by Piper Laurie. I mean, right off the bat, that’s a good deal.

noravec@gazette.net