A large component of the story in your upcoming film is the exploration of a father-daughter relationship. How did you and your co-star–Scott Foley, who portrays the father of your character Olivia–connect and work together to bring this bond to life for La Dolce Villa?

It was instant. We really connected over our sense of humor and the camaraderie grew hand-in-hand with the characters’ connection. I think it was beautiful to get to play with how as we were getting closer, our characters were also finding themselves within this relationship again. Working with Scott was undoubtedly one of the highlights of this
movie, and getting to learn from him as a person and as an actor is something I’ll cherish for a long, long time.

Having recently wrapped up your tremendously impressive Broadway run in Hadestown as Eurydice, what would you say is the most significant difference or challenge when transitioning from screen to stage, or vice versa? How do you adjust your craft to better adhere to each medium?

It is night and day. In all honesty–in every capacity–it is night and day. But, I do think there are a couple connecting points and through lines, and I would say that the biggest one is the passion and love and care behind them. But when it comes to execution, I think prep work for me looks completely different for stage. It is so intense and so physical, and I think it requires a lot from me. When it comes to lessons in the gym, I wanted to be as physically prepared to endure such a tough rhythm. When it comes to screen and stage, my prep work is usually more focused, unless it’s a character that requires a certain level of physicality to it. It requires more table work, and it requires reading and rereading and doing research and trying to connect with the character’s backstory and whatever it might be. So, it’s definitely different processes for each, but I love both of them very, very much.