Everyone who knows me knew, and my friend, Tom, said it to me directly--as soon as the announcement came that Paper Mill Playhouse, in Milburn, New Jersey, would open its Fall Season with "A Chorus Line," I would be heading out there!!!!!!! And, believe me, lambs, everyone was right!!!!!!!!!!!!
Of course, I was dying to be in it. But I would have needed a minimum of six months of daily workout training (which, had I the luxury of Time and Money, I could and would have done) to get me up to scratch to perform this show. So, I wondered--who would direct it? Baayork???? Donna???????? Would it be faithfully rendered???????? Who would play Cassie???????? And how soon could I get my tickets????????????
Monsieur and I got those tickets right away. Our date was Sunday, October 7, which would turn out to be an important day for the show, and , we did not know then, on the cusp of a three day weekend for us!!!!!!!!!!! By the time the show rolled around, we knew that we would both have Monday off, for Columbus Day, and that the evening performance (we saw the afternoon!!!!!) would be the Press Opening, filled with show alums, including the Holy Originals--like Baayork, Donna, Kelly, and Priscilla!!!!!!! If only we had known!!!!!!!!!!!!!!!!!
Nevertheless, despite the rain, it was a Heaven sent day!!!!!!!!!!!!!
But a LONG one! We had to get up, and MOVE to make a 10:11 AM train out of Penn Station, and out to Milburn. Just as we stepped off the train, it began to rain, and as we walked through the charming and affluent main drag of this town, we felt ourselves getting soaked. I have to hand it to Monsieur for boldly going where I wouldn't. Walking uptown, and arriving at the theater, just as things were about to open, Monsieur boldly walked in--to get out of the rain. I was appalled; remember, lambs, to me the theater is a sacred place you do not enter, until you are told to!!!! It has even more rules than Church!!!!!!!!!! Once we got in, and walked about--I saw people going to the box office, staffers arriving, and no one threw us out--we sat in the lounge bar, where I called my father, and waited till we could go over to the F.K. Kirby Carriage House, the charming restaurant adjacent to the theater, which is open only when there is a production running. We had a lovely, light lunch, in a charming 1940s setting--Monsieur had the grilled Gruyere with vegetables in a vinaigrette, and I had a spinach salad with roasted chicken, goat cheese, and berries, in a vinaigrette dressing. Preceded by the most luscious and warm country vegetable soup. Very light, and healthy, darlings. For desert I had some home made cookies and fruit,, while Monsieur had a fruit cobbler that was scrumptious. No coffee, because I NEVER drink coffee before seeing a show (I learned this from experience, girls!!!!!!!!!), added to which the show we were seeing--"A Chorus Line"-- is ALWAYS (and was yesterday) performed without an Intermission!!!!!!!!!
As we made our way into the lobby, there was a huge photo of the recently late Marvin Hamlisch, whereupon I shed the first of my tears. As always, before a performance of this show, I tremble in my seat with excitement, knowing the dancers are backstage doing their warm ups, knowing they will shortly be backstage in formation for them to walk out in darkness. Indeed, when the lights go down on a performance of "A Chorus Line," it is for me the highest level of anticipatory excitement. For a half hour before showtime, you are looking into a black void, then the void goes blank, and slivers of glass appear briefly, as footsteps are heard walking out on that stage. There is a magical several seconds of silence, as the dancers compose themselves, take a breath, make sure they are in position. Then, comes that opening vamp, and the lights flood on!!!!!!!!!!!!!!
And we are off and running with the most gorgeous dance imagery and staging this side of Heaven. Yesterday's performance was ably staged by one of Michael Bennett's alums--Mitzi Hamilton, who, while not a member of the Original Cast, was at the original taping sessions which led to the show, and whose life was the basis for the character of Val. (Who sings "Dance, Ten; Looks, Three.") I had seen Mitzi do Val on Broadway in the late Seventies, and when I found out she was staging the show, I knew it would be in good hands. And, you better believe, I would not be surprised, if, maybe at the final tech rehearsal, Baayork stopped by, to make sure things were ship shape!!!!!!!!!!!!!!
Now, darlings, I cannot be certain, but I bet if a poll were taken I would be, if not THE highest, one of the highest viewers of the show in that audience. I was seeing it for the 38th--that is right, girls!!!--time!!!!!!!!!!!! And it was just as magical as ever!!!!!!!!!!!!!!
When Zach goes "Five-Six-Seven-Eight!", and the dancers turn, for the first time to face the audience, you better believe I led a round of applause, to accord this company the respect it deserves. But, because of Marvin Hamlisch's passing, it was such an emotionally charged performance, I found myself crying in places I never had--the dance montage in "At The Ballet;" the transformation into the "Gimme The Ball" segment of "Hello, Twelve, Hello Thirteen, Hello Love," which never ceases to take my breath away; Cassie's speech, and, despite how many times I have heard it, the company's rendering of "What I Did For Love", when the realization of Marvin's loss swept over everyone, cast and audience alike. I am getting choked up, just writing these words.
What else? The Absolute Perfection of the end of "At The Ballet," with everyone falling into place; the circular choreography during the "One" Finale--it was all there, as it should be, with accompanying applause.
And Rachelle Rak did a fabulous job, as I knew she would, as Sheila. As did Jessica Lee Goldyn as Cassie, whose desperation was most moving, and who danced superbly. Even though I still think she is too young and not suited physically to Cassie, she brought the character to life, but she could not do that back bend, like Donna!!!!!!!! But, then, who could, but Donna???????????
I noticed a couple of different things about the staging. In the Opening, several of the dancers, most notably Cassie and Paul, seemed place differently from where they are usually; the actor playing Mark always wears a thin, blue tank top; here he did not; and the Finale here used a series of marquee lights embracing the stage, a titled mirror, but no Art Deco sunburst. I wonder why. Just as I wondered why, in what I consider the second half of the show, which follows Cassie and Paul, and the dancers come back on to rehearse "One," Jessica kept Cassie's skirt on, and did throughout. Usually, at this point, Cassie removes the skirt, signalling her trying to blend in more. I don't know if this was an oversight, or a conscious choice on Jessica or Mitzi;'s part, to make Cassie conspicuous throughout.
Do any of these minutiae hurt the show???? Of course not; as long as every step remains unaltered, that cannot happen. Paper Mill's company of "A Chorus Line" is an extremely strong one in the acting, singing, and, as expected, dancing departments. As for these differences, only a veteran like me would notice them. Which means that if you have seen "A Chorus Line" before, you will love it here. And, for those who haven't, get thee to Paper Mill at once, to see a rendering which will explain why, for so many of us who saw it originally, it was a turning point in our lives. It was for me, girls!!!!!!!!!!!!!!!
But, Baayork, Donna, Kelly, Priscilla--please!!!!!!!!!!! Just give me a chance!!!!!!!!!!!
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