I’m working on a production A Chorus Line, the Pulitzer Prize-winning musical about dancers at an audition. Of course, there’s more to it than that; it’s really about what motivates performing artists in the face of the terrible odds against “success,” at least if “success” is defined as “getting hired.” The last scene of the show before the finale–when we learn which of the dancers is hired for the fictional musical–is a section called “Alternatives,” in which they answer the question, “What do you do when you can’t dance any more.” And finally, when the question is rephrased, “But what if today were the day you had to stop dancing. How would you feel?” the answer comes in the musical’s most well-known song, “What I Did for Love.”
Kiss today goodbye,
The sweetness and the sorrow…*
I’m no dancer, and not much of a singer, but I’ve admired A Chorus Line as long as I’ve known about it. I bought the original cast album as soon as it was released and practically wore out the grooves of the record. I bought the score as soon as it was available and played it ’til my fingers were raw. It was one of the shows I saw on my first trip to NYC.
Imagine how disappointed I was when, many years ago, I finally got a chance to music-direct a production and it was a terrible experience. I won’t dwell on why that experience was so sour, just to say that I needed more than a little convincing to take it on again.
You know the expression, “So far, so good”? Well, how about, “so far, so great”? The cast and staff adore each other. We’re a week and a half in, and it’s already a beautiful experience. Everyone is working tremendously hard to make this production the best it can be, and to enjoy the process. And it’s really working well.
Hey, wait–I’m supposed to be writing about food!
Last Thursday was my first full-evening vocal rehearsal. Those forces of nature in my cast had to Sit Still and Sing for three and a half hours while we worked our way through most of the ensemble music in the show. I wanted to do something nice for them and bring cookies, but ran out of baking time then. I made sure to leave time before yesterday’s rehearsal.
Cookies? you say. You brought cookies to people who have to wear leotards and tights in public? I’ve seen these folks work in rehearsal. It’s an incredibly aerobic show. They can stand to eat a cookie now and then.
There’s a bakery in the neighborhood near where the old City House was. Their chocolate chip walnut cookies are astonishingly good. They’re also pretty pricey. And it’s quite a trip from the Country House. But without too much trouble I found a recipe that’s produces cookies very, very close to the magical bakery’s product. Screwing my courage to the sticking place (after the Snickerdoodle Debacle), I pulled out the mixer, pre-heated the oven, and got to work.
“Gimme the ball, gimme the ball, gimme the ball,” sings a particularly energetic dancer in a song about adolescence. I thought of him as I worked on my cookies, with the direction “Roll the dough into large balls.” I think, at risk of heresy, that it is possible for a cookie to be too big. Maybe even for dancers. I made these much smaller–a little smaller than golf balls when they went into the oven. They came out perfectly. I packed them for the cast (leaving a supply for my fearless commuter to find upon her return from work), and headed off to rehearsal.
When the stage manager called a break, I set them out.
“There are cookies on the table!” someone noted with glee.
“Why are there cookies?” someone asked.
“Why are there not always cookies?” someone responded, with her mouth full.
“Who brought the cookies?”
Someone pointed to me. I got a round of applause. I took a little bow and blew a kiss to my well-loved cast.
The box was empty about two minutes later. Break ended, and we went back to work on a complicated scene.
There will be hard times to come. This play is hard work. There will be challenges. Frustration. Disaster. But, together, we will work through it all, and care for each other. Sometimes with kind words, sometimes with a quick shoulder-rub or a hug, sometimes with cookies. In the best sense, this is community theatre–not because the actors aren’t getting paid, but because we are a community.
I try not to think too much about what I’ll do on the day I can’t make music any more.
Maybe I’ll bake.
*This performance of “What I Did for Love” was sung by the cast of this year’s Tony- and Pulitzer Prize-winning musical Hamilton. It’s as pure and honest a performance of the song as I’ve ever heard.