I'm sick today. Sicker than I have ever been in a really long time... I was just on FB chatting with one of my DEARest friends. She's a mom (of TRIPLETS, no less), so she was talkin' me off the edge and offering advice on how to actually survive what I'm pretty sure is some sort of stomach flu.
ANYhow... she and I did a show together about a million years ago. I have super clear memories of just about every facet of that show. I remember the auditions. I remember specific rehearsals for the show. (I was the dance captain, so I had to be at all of them). I can recall how i FELT during certain parts of that whole process. What I didn't understand was WHY? WHY do I remember this particular show so well. There have been plenty since then. BETTER since then. More important shows since then...
I think I may have figured it out. It's probably obvious to Suz... and I guess it's obvious to me. I guess.
Heres' what I came up with: While this wasn't my first foray into theater, this was the show that launched my career. This was the show where I actually thought, "Um... I could DO this. Like a career. I could actually DO this." Kinda' makes sense.
What do you remember about it - my faithful readers (both of you - Mr. Book Police, you don't count for obvious reasons). V-Mo -- did you even see it? I imagine that you would have... or were you at that place where you could've cared less what I was up to? No judgement. If that was the case, I get it. Here's what is still stuck in my mind:
=Suz bringing an entire waiting room of auditioners to a dead (and silent) stop when she sang her first note of "Cry Me a River". Understand that this note came out of nowhere. The song starts WITH the accompaniment. No intro. No nothin'. Just you and the note. Her note was so pure, so ON, so beautiful that it could be heard through a door and over a bunch of spazzed out theater geeks waiting in the hall. I remember thinking to myself, "she's MY friend!!". Suz wasn't one of the totally ensconced theater types. she was a music major (if I remember correctly). While she did have a few theater classes, she wasn't one of the people who hung out in the "department" all the time. In other words, she wasn't expected. the people who saw her prior to the audition had probably written her off as a "nobody". I loved seeing the looks on their faces... that, "oh, SHIT! she's GOOD!!!!" look. priceless.
-Elise Pryor. I actully remember this girls' name even though I haven't seen her since college. She sang La Vie En Rose during the "Tavern Scene". She sat alone at a table downstage right. Lit by a single overhead spot. she broke the audiences' heart every night with that song.
-the 'baby ballerinas" dressed in black and white; all of them in white face. they were choreographed to move around each of the soloists in the "Dream Sequence" number... they floated in and out of the pools of light like ghosts... haunting and beautiful. already so professional at such a young age thanks to their impeccable training and preparation from Patrick.
-Bob standing in the wing opposite me before our big number. he'd crack me up every night when Caylia Ch@ik1n would hit her 'note' during her song and he'd jump around grabbing his crotch like it actually hurt him. What song was she singing????
-the feeling and the sound of the white satin robe wrapping around me and then suddenly releasing when I would do the saut de basque...
-feeling like i had a giant secret because under that white satin robe, I had on what could only be called "S&M gear". A pair of skintight black jeans; bare chested with a studded harness that went around my chest and was attached to a studded leather collar at my neck. Okay... i'll explain. The number was, "Nights in White Satin/Knights in Black Leather". The number started with the chorus boys coming out like monks singing "Nights in White Satin". I had the featured solo during the cheesy "poem"... "Breathe deep; the gathering mist..." step, step step, saute, RONDE du jamb to second position, plie, saute plie, saute to attitude, SLOW promenade; hold your leg! hold your leg!! Turn it out PERFECTLY! Keep it smooth! You MUST look like you're floating!!!!... the number transitioned into Bette M's "Oh My Knight in Black Leather", sung in a leather teddy by Maureen (who I had just done Midsummers with - she was Titania).
-hearing the song "Time Heals Everything" for the first time. It's one of my favorite songs to this day. Alisa, Shirley, and Maureen again.
-Shanna Strassberg and a couple of other people singing, "California Dreaming" during the "Dream Sequence", and being fascinated by their harmony
-the weird Ren-Faire chick KILLING Bette Midlers' "The Rose" EVERY night during the Tavern Scene.
-walking out of the rehearsal studio after rehearsing "Big Noise From Winetka" and being covered with rosin. It was even in my HAIR. (rosin is the stuff you step in to keep your shoes from slipping on the wood floor while dancing)
-Hali opening the show dressed like shirley temple singing, "I Wanna Be Bad". She looked like a doll. A doll who smoked.
-feeling weird cuz i was made to wear my S&M gear for the bows
-feeling special cuz I was made to wear my S&M gear for the bows
-being lifted by 6 of the chorus boys during concept/choreography rehearsals for the "Big Noise" number.
-that girl who stepped out of her skirt during Bill Bears Judy Garland tribute. I was onstage with her and was fascinated how she just kept going...
-Bill's vodka breath (he was the director)
-walking in 5 minutes late to rehearsals post "dorm room date" with Kirk L. feeling giddy and guilty especially after the look Patrick gave me.
-feeling like there was something more to that look that Patrick gave me. (i was right)
-seeing my mom standing up as she was applauding during the bows.
I guess i could go on... and maybe i will. there's something kinda' cathartic writing about it for me.
so Mama of Triplets... will you play along? What do you remember? Anything will do... c'mon! play along...