'Dream Big. Build Higher' -- Director Cady Huffman on 'Empire: The Musical'

In the early 1930s, New York City saw a race to the sky. It came with the construction of three Art Deco towers that competed to be the city's tallest. First came the battle between 40 Wall Street and the Chrysler Building, with the Chrysler Building attaining supremacy with a trick – hiding its tall, ornate spire inside its structure only to be revealed after its rival capped at 927'. But the Chrysler – at 1,046' – was the world's tallest building for just a short time. With last minute revisions, the Empire State Building achieved the height of 1,250'. It also was built in record time – 13 months – and became a symbol of hope as the Depression overcame America (and derailed the plans for rival towers being built). It was the world's tallest building until the World Trade Center was built in 1970.

Of all the world's skyscrapers, none has a more romantic reputation than the Empire State. While its building captured the nation's imagination, it was the unwanted visitor from a 1933 film – King Kong – that solidified its status as an American icon. Since then it has appeared in some 250 movies and has long been a must-visit tourist attraction due to the popularity of its two observation decks. It was on one of those that Gene Kelly (and cast) danced in "On The Town" (1948) and Cary Grant was supposed to meet Deborah Kerr in "An Affair to Remember" in 1957.

The building's accelerated construction is the stuff of legend; and is the subject of "Empire: The Musical," currently off-Broadway at New World Stages through September 22. As conceived by Caroline Sherman and Robert Hull, who wrote the book, music and lyrics, "Empire: The Musical" offers a mix of real-life figures – including NYC major Jimmy Walker and governor Al Smith, and composite characters – notably Frances "Wally" Wolodsky, Smith's female assistant who became the project's 'can do' manager. In addition to the planners and politicians, there are the stories of the workers themselves (some 3,500), including the legendary Mohawk Indians who dared the heights without safety precautions to help bring the project in on schedule. Some six workers died over construction, which is included in the musical.

Cady Huffman is best-known for her 30-years as a performer, including her Tony-winning turn as Ulla in "The Producers;" what is less-known is that she is a writer and director as well. In this interview, she recalls having played in a workshop of "Empire: The Musical" some decades ago and how her insights to the creative team at that time led them to reach out to direct their project at New Worlds Stages, the theater complex adjacent to Broadway for a New York run through September 22. For more information on "Empire The Musical" and to purchase tickets for the show, visit the show's website

EDGE spoke to Huffman about what drew her to "Empire: The Musical," and what the term 'Dream Big. Build Higher' means.

EDGE: What drew you to the theater?

Cady Huffman: Oh, gosh, I don't think I had any say in the matter. I came out singing and dancing. My mother tells me there wasn't a moment when I wasn't doing this and begging to be in classes. As a toddler, I begged for ballet classes, singing classes, and to be in plays and musicals. I took my first acting workshop at age six. I started ballet classes at age seven and started studying voice at nine. I'm not sure it was much of a choice.

EDGE: You've done theatre, film, and television. How did you pivot to directing?

Cady Huffman: I directed my cousins in the living room when we were little. I've always loved the big picture, and I have had the opportunity to work with truly iconic directors over my career, including Arthur Laurents, Bob Fosse, Tommy Tune, Stephen Frears, and Blake Edwards. My brain loves to learn. To be able to pick up things and have discussions with these unique minds has been truly amazing. I've been directing for a long time, but for some reason, nobody's noticed. A few people have noticed because they continue to ask me to do it. I've directed for Broadway Cares - directing them and developing numbers for them. I'm ready for people to think of me more solidly as a director.

EDGE: Why did you choose to direct "Empire"?

Cady Huffman: I'm not sure that was a choice either. I did a reading for Lincoln Center about 13 years ago, where I played one of the characters. It was super fun and directed by Matt Lenz. I enjoyed being a part of it, but then it went off without me. It went through a whole bunch of different incarnations, and then one day, I bumped into Caroline Sherman, creator of "Empire," at a show. We were seated next to each other and had a little reconnection. Then, at the end of last year, she called and said, "We have the property back. We love what you did 13 years ago, but more than that, we love what you said about the piece. So, we would love you to direct it. Would you like to do it? I said, "Absolutely." Not really thinking much of it. I love working on things, and we went through the piece dramaturgically. Then, we did a reading. Shortly thereafter, I was told we had a theater. I immediately thought, "No, no, we need more time." But realized it's one of those things that you have to say, "Oh well, this is the time we have; this is the chance we have. Let's do it."