Every Little Step
(MICHAEL SPEAKING) MAN: Five, six, seven, eight. (BROADWAY MUSIC PLAYING) Okay. Let’s do the ballet combination one more time. Boys and girls, do it together. Don’t kill yourselves. Mark.
A one, two, three, four, five, six. (PIANO MUSIC PLAYING) MAN: Good, and… Boys in the back, like that. Round and round. Back to back. MAN: Number nine. Number 10. Number 23. It’s numbers 15 through 22, and my two ladies.
Forty-five. Sixty-three. Number 75. Everybody else, thanks a lot, guys. Cassie. ♪ I really need this job ♪ My unemployment is gone ♪ Please, God, I need this job ♪ I knew I had it from the start ♪ I’ve got to get this show ♪ I need you to sign in, get a dance card.
Remember your number. What’s going to happen when you go upstairs is we’re going to go in in groups of 10. We’re going to do a double pirouette. All we’re looking at right now is technique and type. And then you’re going to stay or you’re gonna go.
If you get kept, there’s a lot more dancing to be done. But I just need you guys to be ready as quickly as possible so we can just sort of bang it out. And then you can move on with the rest of your life today, okay? Thank you.
Thank you, ladies. A Chorus Line, I think, is every performer’s story. You understand them. They’re funny. They’re real. It’s like the history of the dancer in theater. A Chorus Line just stands for what classic Broadway is.
(LAUGHING) I would love to sing Tits and Ass. The whole show is an audition for a chorus line, and that’s basically what we’re doing now in the whole audition process. Every actor, everybody, thinks of that song, God, I Hope I Get It, every time they go to an audition.
♪ God, I hope I get it ♪ I hope I get it ♪ How many people does he need? ♪ God, I hope I get it ♪ I hope I get it ♪ How many boys, how many girls? ♪ Look at all the people! At all the people! ♪ How many people does he need? ♪ How many boys, how many girls? ♪ How many people does he need ♪ MEGAN: To begin auditions, we saw everybody.
First, we saw professionals. Actors, Equity members who carried a union card. And second, we saw non-Equity, non-professionals trying to get on Broadway for the first time.
Three thousand people auditioned for the show. If you said on your resume that you could dance, we basically saw you at some point in the process. Typically, it’s not this busy, I don’t think, at open calls.
Yeah, this is the biggest one I’ve been to. That holding room is great. You should take a look. It’s just like… No, that’s okay. I mean, it’s just like they can’t move. I’m from Orlando, Florida. From Australia.
I’m from Houston, Texas. I just moved here on Monday. I took the Fung Wah Express last night. I got here yesterday. I started dancing… Oh, man. Since I was four years old. Six years old. I was about nine.
My mom put me in dance when I was… Couldn’t even talk yet. We’re actually going to start with the jazz combination, character shoes. Okay? Great, thank you. JESSICA: I was raised in New Jersey, in Parsippany.
Mom, I’m ready. Okay. My mom got me into dance when I was three. When she first saw Chorus Line, she knew that it was a show that would be really right for me, that I could really identify with.
I remember always being in my room, kind of rehearsing. Always rehearsing, always practicing, always getting ready, because I knew this is what I wanted to do since I was little.
As soon as I got out of school, every day, that’s what I wanted to do. Not go to the movies with my friends. My life would always be dance. ♪ I got to class and had it made ♪ And so I stayed The rest of my life ♪ All thanks to Sis Now married and fat ♪ I can do this ♪ That I can do ♪ I can do that ♪ JESSICA: This whole thing with Chorus Line, it’s insane, ’cause it’s here now.
I knew from the beginning that I was gonna put all my eggs in this basket and work as hard as I can to get to here, and that’s why I think I’m here, ’cause I didn’t have anything to fall back on.
I feel like if you have something to fall back on, you’ll fall back. (MICHAEL SPEAKING) DONNA: Michael called me and said, “Will you come with me? “I’m getting a group together, “and we’re going to talk about “what it’s like to be in show business.
” Then we’d go into this other room, and we’d just sit down with reel-to-reel track and a big jug of wine, red wine. Terrible. And we sat in this big circle, and Michael started. (MICHAEL SPEAKING) First, you’re gonna learn the opening number.
Feet together. Hand on the shoulder goes out, one. Under the armpit, two. Elbow down, up, five, and hook it in the back, six. Push on the pelvic bone and lean back. Down three, four, squeeze it all the way down.
Passe allemande. Lunge and hook on six. Don’t do that. I know that’s Cats. Don’t be doing that. I know what show you did if you do this. Five, six and one, two, three, four. Left and turn and left and turn and left and turn.
You know the term, “Eat nails”? (GRUNTS) That’s, you know, doing this combination, you’ve got to really eat nails, okay? And get down! Come on, get down. A five, a six, a five, six, seven. And one, two, three, four, five, six, left, right, left, right, left, walk, step, hook and turn.
And one, two, three, three and four. A five and six, now one, two, three, four, five and turn. And step, step, kick, kick and chalet. Turn, roll, step, baby step. Two. I met Michael Bennett… He came to my dancing school at 13 years old.
And then years later, Michael announced that he wanted to start teaching, and I started taking his class. And then he told us that he wanted to become a choreographer. From the beginning, we knew that Michael was somebody special.
First of all, in the way he danced. There was a freedom. DONNA: I first met Michael on Hullabaloo, bringing the jerk to new heights, you know. (FAST MUSIC PLAYING) I said, “Michael, what do you want to do when you grow up? “You can’t keep doing this the rest of your life.
” And he said, “I’m going to be a choreographer.” I first met Michael Bennett when we were doing a European tour of West Side Story. Michael was brought in as the new Baby John, and he was 16 years old.
(MICHAEL SPEAKING) (JAZZ MUSIC PLAYING) BOB: Michael had tremendous ambition. He knew he wanted to be a choreographer from the get-go, from the time he was a kid.
And the kid had a great brain, and for some reason, he always treated me like an older brother. And we were best friends ever since. Bobby, you know, was Michael’s creative partner for his entire career.
And the director of A Chorus Line, Mr. Bob Avian. (ALL APPLAUDING) So everybody in here is new for the first time. Well, welcome, everybody. Thanks so much for coming today. So Baayork’s going to teach you the combination from the opening of the show, so try and have a good time.
Casting always is the biggest challenge. Just finding those people and trying not to duplicate the original cast. The roles, however, are very specific. They corner you, in terms of their age and their ethnicity, and it’s difficult to veer too much.
You know, I just want to thank you all for coming today. We’re doing the first elimination down. MEGAN: So, if I call your name, you’re gonna do the ballet. Brian, Chris Klink, Eric, Cornelius and Seth.
Of the ladies that just went in, you’re all excused. Thank you very much. You’ve been cut. Can you please get out? And they just made a cut, and I’m still here, so I survived. Balance, pas de bourree, step, step, jete, contretemps and hold.
Pirouette, step, two, two and hold. (BALLET MUSIC PLAYING) One more time. Guys, this is the tough part. ♪ God, I really blew it, I really blew it BOB: We’re cutting down a little bit further, but you’re really all terrific.
♪ Now I’ll never make it! I’ll never make it! ♪ He doesn’t like the way I look ♪ He doesn’t like the way I dance ♪ They made a cut. Unfortunately, I didn’t make it, but they’re gonna keep on dancing.
Eat nails. (JAZZ MUSIC PLAYING) It’s also what slots we see you in. They’re all very defined, you know. So I want to thank you all for coming, and Jay will read out your names. Okay, good. Thank you.
May I see the following people? ♪ God, I think I’ve got it I think I’ve got it ♪ Kieran Giovanni, Deirdre, Rachelle, Nadine, Natascia, Charlotte, Yuka Takara, J. Elaine Marcos. MEGAN: Jason Tam.
Miss Alisan Porter and Miss Meredith, Nikki Snelson, Chryssie, Tyce Diorio, and Jessica Lee. The rest of you, thank you very much. (ALL APPLAUDING) (SOBBING) Good news. Yay! Thank you. ♪ I need this show ♪ WOMAN: Yeah, he’s doing the ballet now.
JOHN: Okay, good. WOMAN: Yeah, but you didn’t see them do the jazz. JOHN: I didn’t see anything though. Okay. I had to leave right away. WOMAN: Okay, John. It’s okay, sweetie.
Okay. No, I trust you. I trust you guys. I trust you. NARRATOR: As the field whittled from thousands to hundreds, things became trickier. Anybody Jewish around here? Why? Are you Jewish? Why? I’ve got a name to read.
I don’t know how to say it. We start at 11:00. Last appointment, right now. Yokov? Yeah. Yokov. Okay, great. Thanks. Make your time for you to work with people if you wanted to get up, you to get up and play with people.
Rochmel Lev Ben Yokov… Yokov Meyer Beckenstein. Tomorrow we start at 10:00. Cassies, Vals, Sheilas. BOB: And they’re dancing at 10:00 first? MEGAN: They’re dancing at 10:00. Okay. We should be able to go on this now.
Yeah. ♪ That’s the story of my life I remember when everybody was my size ♪ Boy, was that great. But then everybody started moving up, and there I was, stuck at 4’10”. Do I get a chance to say who I want to play my life? No.
Yes, you do. No. (CHUCKLING) (BAAYORK SPEAKING) (MICHAEL SPEAKING) (BAAYORK SPEAKING) That night, that 24 hours, all the stories came out of that first tape session. (BAAYORK SPEAKING) I used to hang from the parallel bars by the hour, hoping I’d stretch just an inch more, ’cause I was into dancing then, and I was good.
And I wanted so much to grow up to be a prima ballerina. It’s always hard for the girls, ’cause I’m sitting there and I’m demanding so much from them. Is she American born? Hey, Yuka? YUKA: Yes? Where were you born? I’m from Okinawa, Japan.
How long have you been here? Since ’98. ’98. Yeah, okay. I’m going to work on Yuka’s American accent, which I know she can get. There’s something about being born in America and fighting, at five years old, for a seat.
Fighting for a… A seat on the F train. Okay. You know what I’m saying? YUKA: I was really nervous at the audition because she was right there at the table, and it was just nerve-wracking, you know, ’cause she is Connie.
JAY: Hey, you? Ten. Ten! Eh. Eh. Ten. Ten. Good. Dancing. Dancing! (LAUGHING) There you go. Get out of here. Yeah. ♪ I went to an agency ♪ And they keep typecasting me ♪ Yes, I’m Asian. I came from Saigon ♪ But on Broadway I even played a blonde ♪ I got more in me ♪ And you can set it free ♪ I can play any role that I can ♪ Even Afro-American Remember my name, Elaine ♪ Did you like her as Connie? I want her as Connie.
You want her as Connie. She gets your vote, huh? She gets my vote. We started to bond, and a lot of things started to come out. DONNA: Michael was very clever. He would reveal something about himself that nobody had ever heard or knew, myself included, and it was kind of provocative and touching and shocking.
(MICHAEL SPEAKING) (PEOPLE LAUGHING) He opened certain doors about his own privacy and his own sexuality and his own teenage angst. (MICHAEL SPEAKING) (PEOPLE LAUGHING) And it was like he was saying, “Okay, I give you permission now to speak from your heart.
” (MAN 1 SPEAKING) (MAN 2 SPEAKING) (MAN 3 SPEAKING) (WOMAN SPEAKING) (PEOPLE LAUGHING) As I was watching dancers just talk about Broadway and their lives, I began to hear musical numbers.
So Marvin, being a dance arranger, for me, was the ideal person to write this musical about dancers. I had worked with Michael Bennett prior, just as a dance music arranger, and I thought this guy was a genius.
Now, I had gotten myself out to Hollywood basically because that’s where the work was. And here I was receiving three Academy Awards, couldn’t believe it. And about four or five weeks later I get a phone call from this genius.
And the genius says that he wants me to come back to New York now, ’cause he has an idea for a show, and he wants me to just drop everything. Now, you can imagine. I go to my agent and say, “You know, now that we’re at the top, “and we can really field all the great offers, I’m leaving,” you know, and then we’d have to revive him for a while.
So he tells me the following. “I’ve been talking to a lot of chorus kids, and I have these tapes. “And these tapes are just them talking, “and I have slowly but surely had them typed out, “and I want you to read these tapes because “I think that there’s something in this.
“ I come from a school of beginning, middle and ends, right, so I’m going, “Yes, and?” “No, that’s it. That is it.” So he has all these tapes, and he sat there and said, “What is this thing?” But he knew, the most important thing, he knew it was going to take a long time.
And there came the great man, Joe Papp. I mean, that was where Michael found his genius producer. And Joe said, “Okay, you’ve got the space. Everybody makes $100 a week. “That’s the cast, you guys, the writers, you name it.
” And I said, “Michael, $100 a week, how can we do this?” And he said, “It’s worth it. “We’re just going to gamble. We’re going to do it.” And I went, “Okay,” as I’ve always done. And we spent the summer in my apartment writing what amounted to something like that.
This was the period in which people wrote a show, went out of town, either had a hit, had a miss, whatever, that was it. There was no such thing as a workshop. This was the first time the workshop device had been used.
Michael, in a sense, created it with Joe Papp. We did a first run-through in our first workshop where we had, like, one song at that point. We refer to that day as the Day of the Towering Inferno.
I mean, it was the most overdramatic, melodramatic, indulgent… Indulgent. DONNA: It was quite awful and really boring, after all, because you could see, okay, we’re only on four now, and we’ve got how many? One person steps out of the line and tells you the story of his life, and you look down the line and you go, “Oh, my God, 16 more to go.
” We were going to be in trouble. MARVIN: So we decided on this kind of montage, framed by Hello 13, Hello 14, Hello Love. So when it’s over, you’ll have gotten, in 15 minutes, what would have taken hours.
♪ Hello twelve ♪ Hello thirteen ♪ Hello love ♪ Changes, oh! ♪ Down below ♪ Up above ♪ Then we took a break and edited it down and added a few more songs.
MARVIN: So now comes the second workshop, and in the second workshop, things really start to come together. We were doing something downtown. Don’t tell anybody what we’re doing downtown. We were not supposed to tell, you know, our boyfriends or spouses or anything.
But there was such a buzz around New York that things were going on downtown. DONNA: The first song they wrote on our second workshop was At The Ballet. And we were all sitting there, and it was like, I knew that this was going to be a great thing to be in, a great show.
We always talk about where the heart and soul of the show is. The heart and soul is in At The Ballet. That lyric, that continuum of three people telling you about their lives, that’s where the show grabs the audience and says, “Hey, this is important.
“ MAGGIE: I used to dance around the living room with my arms up like this. With my arms up like this. My fantasy was it was an Indian chief, and he’d say, “Maggie, do you want to dance?” And I’d say, “Daddy, I would love to dance.
” BEBE: She said, “You’ll be very attractive…” (PEOPLE LAUGHING) “…and you’ll be different, but you are not pretty.” ♪ Different, she said With a special something ♪ And a very, very personal flair ♪ SHEILA: .
..my mother, and when I was, like, five, I remember helping her dig earrings out of the car. That I knew, at five… ♪ When I was five, I remember my mother Dug earrings out of the car ♪ I knew that they weren’t hers ♪ But it wasn’t something you want to discuss ♪ RACHELLE: Every time you have to go in and start all over.
You have to sing again, you have to dance again. Everyone on that panel has to agree. To me, Rachelle Rak is like… If it were the ’50s, she is the classic sort of gypsy. She fell 16 feet into the trap in The Look of Love, right? And she got up, she finished the show.
And then she said, “And now I’m going to the hospital. “And I’ll see you in about two weeks, and I’ll be back.” The odds of everyone agreeing, they are just slim to none. RACHELLE: She wanted to be a dancer.
She had all these scholarships and all that. And when she got married, my father made her give it up. Isn’t this exciting? And then she had this daughter, me, and she made her exactly what she wanted to be, and it was fabulous the way she did it.
RACHELLE: Am I tall enough? Am I pretty enough? Am I good enough? If you went into work every day saying, “Do you like me? “Can I do it? Can I… Am I what you’re looking for?” My mother was raised like a little nun.
She couldn’t even go out. She couldn’t even babysit. MAN: Sheila, don’t perform. Just talk. And she made her what she wanted to be. Well, first, she took me to see all the ballets, and then she gave me her old toe shoes.
And I used to run down the sidewalk on my toes at five. And when she saw I really had to dance, she said… “You can’t do it until you’re eight,” and by then I was only six, and I just had to scream, “But I’ve got to dance.
” I mean, anything to get out of that house. ♪ But everything was beautiful at the ballet ♪ Graceful men lift lovely girls in white ♪ Yes, everything was beautiful at the ballet ♪ I was happy at the ballet ♪ You did great.
You did great. Thanks. It was very interesting, your choices. Thank you. I really had a great time. Thank you. I really enjoyed it. Well, we’re glad you came in. Okay. Bye. Thanks. She is one of the few people that understands Sheila.
She is Sheila. BOB: Now, what’s your mom’s name? My mom’s name is Laura Klein. BAAYORK: Laura’s your mother? She loves you, and she loves you, so much. It’s ridiculous. BAAYORK: I’m speechless. BOB: And she was a Bebe? Yeah.
♪ Mother always said I’d be very attractive when I grew up ♪ When I grew up ♪ Different, she said With that special something ♪ And a very, very personal flair ♪ Though I was eight or nine ♪ Though I was eight or nine ♪ Though I was eight or nine ♪ I hated her ♪ And everyone was beautiful at the ballet ♪ Every prince has got to have his swan ♪ Yes, everything ♪ Was beautiful ♪ At the ballet, hey ♪ I was pretty at the ballet ♪ Just like her mother.
I can see her doing all the Bebe lines and being that girl. “Please, give me a break, you know. “They told me Broadway was dead when I got here.” I can hear her do that. Yeah. ♪ Everything, everything was.
.. ♪ Everything was, everything was ♪ Raise your arms And someone’s always there ♪ JAY: What makes At The Ballet so moving, of course, is Maggie’s crescendo. ♪ At the ballet At the ballet ♪ At the ballet ♪ You don’t have to scream it, you know.
♪ At the ballet At the ballet ♪ (SCREECHING) That’s not easy. (ALL LAUGHING) ♪ Everything was beautiful at the ballet ♪ Raise your arms And someone’s always there ♪ Yes, everything was beautiful ♪ At the ballet ♪ At the ballet ♪ At the ballet ♪ Good girl, Mara.
Very nice job. MARA: Thank you. BOB: Michael said, “That’s the score. “That’s where I want the score to be. “I want that kind of originality for the show.” (PEOPLE CHATTERING) I want to be Val.
I’ve got the boobs up. Mom in Missouri is going to be so proud that I just said that. (LAUGHING) I don’t know what I’m doing. I’m not trained for this. You know, just do it by ear and have fun. By the time the character of Val steps forward and says, “Well, the day I turned 18, “I got on a Trailways bus and headed for the Big, Bad Apple,” you have heard about someone at four, five, six, seven, eight.
You’ve heard all the dancers take you, collectively, through childhood, adolescence, and up to 18. So the day after I turned 18, I kissed the folks goodbye, got on a Trailways bus and headed for the Big, Bad Apple.
That was my plan. New York, New York, here I come. BOB: Val is very difficult. A lot of people get confused about that role and they think she’s a tough girl. Let’s get one thing straight. I never heard of The Red Shoes.
I never saw The Red Shoes. I don’t give a fuck about The Red Shoes. She’s got a truck-driver’s mouth, but she’s really a sweetheart and a very likable girl. Except I have one minor problem.
See, I was ugly as sin. I was ugly. Skinny. Homely. Unattractive and… Flat as a pancake. Get the picture? MARVIN: Tits and Ass wasn’t getting any laughs. Zero, zero, laughs. I thought that was one of the funniest songs I’d ever written, and the girl was doing it great.
On the third preview, Michael said, “Guys, if we don’t fix this pretty soon, “you’re gonna have to write another number.” I said, “Michael, you’ve got to be kidding.” ♪ Fixed the chassis ♪ How do you do ♪ Life turned into ♪ An endless medley of, “Gee ♪ “It had to be you.
” Why? ♪ Tits ♪ And ass ♪ Ed and I decided to look at the show the way the audience did. It was the first time that we were handed a program. We opened the program and we immediately went, “Whoops! “Oh, my God! We’re giving away the punch line.
“ ♪ Have it all done Honey, take my word ♪ Grab a cab Come on, see the wizard ♪ On Park and 73rd ♪ For tits and ass ♪ Changed the title the next day to Dance, Ten. Looks, Three. They came to the lyric, “tits and ass,” it got a laugh.
♪ Tits and ass Yes, tits and ass ♪ Have changed my life ♪ That was horrible. It was horrible. Nikki, have you ever played the part? No, I never have. BOB: It’s really good. Thank you. You’re really good.
Thanks a lot. They’re talking about me. I hate that. JAY: This girl’s got it. She just needs to be, like, guided into it. That’s all. It’s all about pacing and timing. Hey, Amanda? Yeah? So, they want you to come back on the 23rd.
Okay, great, okay. Okay. I got a callback! Oh, my God, I just yelled that really loud, and there’s somebody else auditioning for Val. I feel bad. But I got a callback. We’re considering you for cover, okay? For cover for.
.. For cover, right now, for Val, and maybe like a second casting cover. Okay. If a dancer walks in, and they’ve got that special little bit of magic, you go that way. And if they can bring something fresh to the role, it’s what you’re attracted to.
I mean, the likeability factor is very important. They’re, like, “Chryssie, we’re totally in town for A Chorus Line. “We want to see you for it.” And I was, “Yeah, that’s right.” I mean, I totally had forgotten that they were casting it.
And I was, like, “That’s right.” I was, like, “What do you see me as?” And I usually get… Sorry. I thought, “What are you thinking me of, as Judy?” And she was, “No, actually, we’re thinking of you as Kristine.
” And my first reaction was, “Well, that’s the girl that can’t sing.” ♪ In my own little corner In my own little chair ♪ I can be whatever I want to be ♪ I’m a slave from Calcutta I’m a queen in Peru ♪ I’m a mermaid dancing upon the sea ♪ That’s the most important thing.
You instantly liked her. You like her. And she’s perfect with Tony Yazbeck. That’s always the bottom line thing, like you said. It’s, you gotta like them right away. JEN: It’s funny, you know, when you audition, you play it out in your head 100 times of how it could go, and it never goes that way.
I picked up my foot, touched it to the back of my head and said, “This little girl could be a star.” JEN: When you’re finally out there, it’s like this surreal feeling of, “I’m auditioning right now.
It’s happening right now. “I’m thinking about my cat. “I’m not thinking about the audition. “I have to focus. Oh, my gosh, what if I get this? “What if I don’t get this?” There’s, like, a million thoughts going through your head.
Except I had this little… BOB: Problem. (LAUGHING) Interesting take, Jennifer. It’s wonderful. MAN: My sister would go home and she would practice her routines downstairs in the basement, and I would go down and I’d say, “I can do that.
” She would be working real hard and I’d say, “I can do that.” The people who are more used to shows constructed like My Fair Lady, I Can Do That is a lovely way to put them at ease and say, “That’s all right.
You’re going to see singing and dancing, “and it’s not going to be a threatening experience.” ♪ I can do that ♪ I can do that ♪ Knew every step Right off the bat ♪ I said, I can do that ♪ I can do that ♪ One morning Sis won’t go to dance class ♪ I grabbed her shoes and tights and all ♪ But my foot’s too small, so ♪ I stuff her shoes with extra socks ♪ Run seven blocks in nothing flat ♪ Hell, I can do that ♪ I can do that ♪ I got to class and had it made ♪ And so I stayed the rest of my life ♪ All thanks to Sis ♪ Now married and fat ♪ I can do this ♪ That I can do I can do that ♪ That was fun.
I did what I wanted to do, and that’s all that matters. Sometimes nerves take over, and you don’t show them who you are. But that’s not what’s going on. That’s my party in there, not theirs. They’re invited to my party.
For me, it’s just, I’m not desperate. My life goes on with or without it. What’s important is the work. I go in that room for those 10 minutes, I do what I want to do, and the rest is whatever. Hey, Tyce? Yes? They want you to come to callbacks.
(BOTH LAUGHING) I made it to the final callbacks. Yes, for Kristine! It went so amazing. Sorry! Nicholas Dante’s speech, the speech that Paul makes about his parents coming and seeing him in drag, was heart-stopping that night.
(DANTE SPEAKING) DONNA: When Michael heard that, he said, “I have to use that.” This was so personal to him, because… He felt all of that shame of not being able to be honest, of being judged, self-critical, not his own best friend.
And he was tired of apologizing for living. When Nicholas Dante, the evening of the taped sessions, told me about his life, which was basically what is the Paul monologue in the show, what we call the Paul monologue, I was so moved.
And not only moved by the story, but moved by the way he expressed himself. DANTE: And I went down to audition. And they said, “Well, you’re too short to be a boy, “but would you like to be a pony?” And I said, “What is a pony?” And they said, “A girl.
“ “You’re too short to be a boy. Would you like to be a pony?” And I said, “What’s that?” And he said, “A girl.” And I said, “Well, what do I have to do?” And they said, “Show us your legs.” “But I have hair on my legs.
” “It’s okay. Just come on upstairs.” So I went. Well, they hiked up my dungarees and they put on a pair of nylon stockings and high heels. And it was so freaky, so incredible. Next to Cassie, probably Paul is the biggest challenge of casting.
I mean, I really wanted to perform. One day my cousin told me, “You’ll never be an actor.” And I knew she was saying this because I was such a sissy. I don’t know. No, he’s not for us. And I knew she was saying this because I was such a sissy.
I mean, I was terribly effeminate. Not bad. I always knew I was gay, but it didn’t bother me. What bothered me was that I didn’t know how to be a boy. Should this be a DTL? What is DTL? Down the line.
WOMAN: Down the line. BAAYORK: Did you make that up? It’s a biz term. That’s what we call it. That’s what we do. That’s casting. What bothered me was that I didn’t know how to be a boy. JAY: This we know is no.
BOB: No. This we know is no. This we know is no. This we know is no. We saw so, so many Pauls. And we searched and searched, and Jason Tam came into the room. We were doing this oriental number, and I looked like Cyd Charisse.
I mean… No, Anna May Wong. Anna May Wong. I mean, I had these great big chrysanthemums on either side of my head, this huge headdress with gold balls hanging all over it. I was going on for the finale.
I was going down the stairs, and who should I see standing next to the stage door? My parents. You know, they got there too early. I freaked. I didn’t know what to do, you know, so I thought to myself, “I know.
I’ll just keep walking past them like all the others “and they’ll never recognize me.” And so I take a deep breath and I walk down the stairs, and just as I pass my mother, I hear her say, “Oh, my God.
“Paul.” I died, you know, but what could I do? You know, I had to go on for the finale, so I just kept going. After the show, I went to my dressing room, and after I was done dressing and taking off my makeup, I went back downstairs.
And there they were, standing in the middle of all of these… All they said to me was, “Please write. “Make sure you eat, and take care of yourself.” And just before my parents left, my father turned to the producer and he said, “Take care of my son.
” That’s the first time he ever called me that. (SOBBING) So that was… That was it. (SOBBING) I’m sorry. Turned to the producer, and he said, “Take care of my son.” That was the first time he ever called me that.
Boy, you got me. For an audition, Jesus, that’s excellent. Okay. Wait outside. Thank you. Thank you. BAAYORK: Oh, my God. I’m crying. (LAUGHING) I haven’t cried in, what, 30 years. Sign him up. ZACH: Cassie, stay on stage, please.
Wow! This audition is really interesting, isn’t it? Yeah. What are you doing here? What do you think? I need a job. In the chorus? Look, Zach, I’d love a part in the chorus, but I’ll take what I can get.
You’re too good for the chorus, Cassie. Too good? Wow. I did a couple of dance spots, so… You were featured. You stopped two shows cold. Your career was going fine here in New York. I can’t get a job, Zach.
CHARLOTTE: I definitely feel I’ve been around enough to say those lines that Cassie says. I understand being successful and then not being able to get a job. It’s a role that I’ve always wanted to play.
It’s one of the first Broadway shows that I saw, when I was 11 years old. I ran around as a kid singing Music and the Mirror. NATASCIA: My whole thing is I haven’t had my break yet.
I want to spend my time on this Earth dancing. This is the best part of me, and that’s what’s resonant about what Cassie talks about, because this is me. When I can do this, I’m me.
The selection of the Cassie is the most difficult role to cast. I mean, it was built originally for Donna McKechnie, and it was based on her gifts. Donna McKechnie was such an organic dancer when it came to the music.
She just could hear it all and physicalize it all. To find that special gal who could sing the role and dance the role and act the role, it’s a lot of subtle qualities that you’ve got to find in one performer.
BOB: You just continue gossiping and schmoozing with each other, and I’m just gonna come around you one at a time and get to know you and get to meet you a little bit, okay? And then Baayork’s gonna teach you.
But I want to know who you are first, before we start. So I’ll start with Colleen ’cause we know each other. Hi. Hi, sweetie. How are you? I’m good. Come say hello. Okay. How are you doing? I’m such a fan.
Your work is so amazing. I saw you in Movin’ Out and, of course, in Fosse. Nadine, right! I saw you in Paper Mill, right? Yes, yes, yes. Yeah, you were the Val, right? Yes, I was. You replaced Lauren Kennedy.
.. I did, yes. Yes. …in Sunset Boulevard. Reading this scene, the scene we have for the sides today, was a little too close to home. Do you know what I mean? You go out to LA and you keep trying and you keep trying and you keep trying, and it just kind of eats at your soul.
So you’re going through a slow period. Happens to everyone. Something will happen. That’s what I kept telling myself in California. You didn’t work out there? Well, sure. I was a go-go dancer in a TV movie of the week.
Let’s see, commercials. I almost got to squeeze a roll of toilet paper, but I lost out in the finals. And I was in California going, “God, get me out of here.” I needed a real job. “I’m not happy.
“I want to work. I want to dance. “I want to sing. I want to act.” I need a job. ♪ To have something that I can believe in ♪ To have someone to be ♪ Use me, choose me ♪ MAN: I just can’t see you dancing in the chorus, Cassie.
Why not? Listen, if you need some money, call my business manager. Sure, I need money, who doesn’t? But I don’t need a handout. I need a job. I need a job, I don’t know how else to say it. I mean, do you want me to say it again? No.
Okay. Fine. I got that far. Look, I haven’t worked in two years. Not really. There’s nothing left for me to do, so I am putting myself on the line. Yes, I am putting myself on your line. I don’t want to wait on tables.
What I really don’t want to do is teach other people how to be doing what I should be doing myself. ♪ God, I’m a dancer ♪ A dancer dances ♪ Bravo. Very nice, very nice. Natascia, we need to… Baayork to work with you, so I understand you want to stay today and work some more later.
One, two, three, four, five, six, seven, eight. That dance was very, very difficult to get, so we just started with being. And I didn’t come up with the… The first step he came up with was, you know, “Do this.
I want this to be very stark and angular.” It’s like… He said, “You know, “when someone used to do something, “and they’re not sure if they can do it? “It’s like, I’ll just try this.” When you turn around, you’re there.
Look. (HUMMING) MICHAEL: What happens for a dancer in front of a mirror and the sense of identity one gets when one has grown up in front of the mirror, to see yourself in the mirror, that you take that mirror away and you don’t replace it with eyeballs or applause or something else to give you that sense of who you are.
DONNA: If she doesn’t see herself, she feels invisible. She feels so low that she has to see herself in the reflection. BAAYORK: And bend, bend, bend. Oh, oh, oh! Okay. And then you just fall back as far as you can.
I’m sure it is. Okay. Up, up and then… And then you can plie, plie, plie, plie and drop. BOB: There you go. Do me a favor, when you’re down there, can you switch it to that side? Yeah. (ALL LAUGHING) All right.
Great, Charlotte. BAAYORK: Was she the last? The solo dance number is tremendously taxing. And it goes on for a long time, and it’s also running the four-minute mile. Turn, lunge, roll, step, pas de bourree, one, two, three.
One, two, three. But this is three? Yeah. And one. That’s it, girlfriend. That’s it. That’s it. And you hear it in the accents. All right. Okay. Here we go. That is it. A five, six, seven and… (PIANO PLAYING) BAAYORK: Turn, lunge, roll.
Anybody who says, “I have a right to live and do what I want to do “and do what I love, even if you don’t like it,” deserves a second chance. When Cassie didn’t get a job, people walked out that night so depressed.
It was horrible. We found out that there was something off at the end. We didn’t know what it was, but it wasn’t right. And it was just always, like, close, but it wasn’t that thing where you went, “Wow!” But one day, Marsha Mason came to the show.
She said to Michael that she thought it was wrong that Donna McKechnie, in that role, did not get the job. Marsha Mason said, “The audience goes against you, Michael, “because the girl has done everything right.
“She’s given up everything for this job, and she may be overqualified, “but she needs the job. “You’re alienating the audience “because you’re getting rid of her “only because you have got a problem with her.
” So Michael, that night, changed the ending and let Cassie get the job. Standing ovation from that night on. (MUSIC PLAYING) (AUDIENCE CHEERING) (MICHAEL SPEAKING) JAY: No. This is a no.
This is a no. BOB: It’s just about getting her motor going, but she can act. I think he comes off a little young. BAAYORK: I agree. And as a Mike, he’s the right age, but he doesn’t have the top notes.
BOB: I don’t remember her. JAY: I don’t think she sings well enough. JOHN: Judy or Kristine. Right. BOB: Yeah, but you know what? She doesn’t have the voice. BOB: Yes. Don’t you think? MEGAN: She’d be fine as a Sheila.
Well, that’s pretty good. Yeah. Okay. Great. We could do a lot worse. (CHUCKLES) Nice job. You’re gonna be onstage. For the final callout? They’re going to put you up on a line. It’s hot. It’s gonna be the, like.
.. It’s gonna be fun. It’s gonna be the real deal for a minute. They’re gonna put you on the line. I don’t want to start to cry. No, no. It’s gonna be great. I have, like, all day long. JESSICA: If I was going to be on that stage, I was going to look like I belonged.
It’s the final, final callback. Final, final, so I need good shoes. You’ve been doing this for about eight months now? Yeah. Well, you know, the likes of Charlotte d’Amboise. She’ll be there on Monday? That’s great.
Yeah, you’re up with the big guys now. I know, it’s a little… Surreal. WOMAN: Well, it had to happen sometime. MAN: It’s the way it should be, honey. Lovely! (CHUCKLING) Of course, you see who’s up here, honey.
Donna McKechnie. I know! She saw a video of me doing the dance. She wrote me a letter and gave me, like, words of advice. She was like, “You’re a beautiful dancer.” She’s like, “Just always remember that it’s not.
.. Don’t work. “Don’t show the work, and just enjoy it.” ♪ Well, dance, ten Looks, three ♪ And I’m still on the unemployment Dancing for my own enjoyment ♪ That ain’t it, kid That ain’t it, kid ♪ NATASCIA: What do I do to prepare for a final callback? I’m probably gonna chant a little and dance around my living room.
Good. It looks great. You have to keep shaking your hair out, though, because it gets wiggy. ♪ To have something that I can believe in ♪ To have someone to be Beautiful. ♪ Use me, choose me ♪ (SINGING) RACHELLE: Even my acting coach, he said, “You are so right for this.
“ I said, “I can’t even hear it from anyone,” because it’s so deep that I don’t want it to hurt that bad. Do you know what I mean? You know how you just don’t? It’s like love, it’s like being in love.
You don’t want to love someone so much because you know it’s going to hurt so much. Okay. So tomorrow, you’re coming back at 10:00 at the Broadhurst. Okay? DEIDRE: I’m nothing like Sheila, but I think that’s the fun part of being an actress is to find parts of you that can connect to it and other parts.
.. Just go and have fun. I need this job because I’m out of unemployment. MAN: You’re out of unemployment? So I really need this job! It’s not for the weak of heart, I’ll tell you that right now. You have to.
.. It teaches you to take things and it teaches you how to live, actually, funnily enough, if you have the stomach for it, because you have to go in and commit 100% and be totally passionate about it. Give your everything and risk it not working.
CHRYSSIE: Right now, all of a sudden, my heart’s starting to race again, thinking I’m going to be on the… WOMAN: Yeah. Okay. So I’m at the theater. This is too flimsy. I called my father and.
.. Oh, my God, and I had him say a prayer for me. And he never… God, this is so stupid. I’ve never had my father say a prayer for me. Usually, I say the prayer, and I had my dad say it. So I just said, “Dad, I just need you “to say a prayer for me for tomorrow.
” Like, “Whatever is supposed to be will be.” Because it’s all good. I don’t even know why I’m crying. I hate that, that I’m doing that on the camera right now. CHARLOTTE: I remember my dad, he just had both knees replaced.
He’s a ballet dancer. And I remember him literally, like, weeping and just saying, “Oh, my God, you know. I get it. “I get what it is not to dance anymore.” JACQUES: Ask the gymnast, “Is it worth it?”, that tore her shoulder but was in the Olympics.
Ask the farmer, who have thick calluses on their hands, the working-man hand, “Is it worth it?” It’s a price you pay. You never know what’s the next day. So each night that you go on that stage is opening night, but it’s also closing night.
You don’t know for sure. It becomes everything there is, the cosmos. The hardest thing is when you can’t dance. I think I was 40-something when that knee went out. (CHUCKLING) It really went out, and I ended up in the hospital.
And you know, “You’re not gonna dance again.” That was hard, because you begin to form who you are. “I am a dancer. I am a dancer.” “Now you can’t dance.” “Who am I?” But then I got a phone call from Balanchine saying, “When can you get back?” So I was back onstage six weeks later.
And at the end of dancing, my dance boot was full of blood. Bye, Daddy. All right. You take care. I’ll take care. Yes, I know. All right. All right. You’re going to take Shelby and JoJo. That’s another reason why I like A Chorus Line.
What we did for love. ♪ Love’s what we’ll remember ♪ Kiss today goodbye ♪ And point me toward tomorrow ♪ We did what we had to do ♪ Won’t forget, can’t regret ♪ What I did for love ♪ (DOORBELL BUZZING) Hi.
BOB: I just want to say, you’ve just done so well to get here, because the competition was fierce. Am I the first one here? Now, today you’re going to be nervous. All I can say is use that.
That’s what the play is about. So when you’re standing on the stage and you’re dancing and we’re checking you out, take that nervousness onboard. Use it. Use it as actors, and don’t be afraid of it. Let it put you in the right place, because that’s what’s going on today.
Okay? And I thank you all for being here. You did great. I’ve got my fingers crossed for all of you. All right. Thanks, everybody, and good luck, okay? Thank you. A one and two, three, four. Five and six, seven.
Accelerating, one, two… (LAUGHING) Meredith! Oh, my God. Hello, honey! We did also grow up together. (CHATTERING) Okay, Baayork, will count you off, okay? One, a two, a one, two, three, four. (PEOPLE APPLAUDING) The way you get a job on Broadway is you walk in and at that particular moment, you are giving an opening night, finished performance.
YUKA: I was up against my closest friend, Elaine. I was happy that she was there, but at the same time, it was a battle. 4’10”. 4’10”. That is the story of my life. I’m sorry.
I need to take that one more time. MAN: Sure. 4’10”. 4’10”. That is the story of my life. I remember when everyone was my size. But then everyone started moving up. 4’10”. 4’10”. That’s the story of my life.
I remember when everybody was my size. Boy, was that great. But then everybody started moving up, and there I was, stuck at 4’10”. Her enthusiasm and her animation. She’s the most like what the… The physical-ness that you used to bring to it.
I’m glad you think I’m cute because I don’t. Of course, I don’t see myself that way. Right. Right. I’m a survivor, you know? Right. It’s hard, but… But I’ll be happy either way. Yeah. Yeah, either way.
I’ll be… Yeah. Yeah. Now we’re really, like, fighting for it now. I think it feels more like, okay, down to the wire kind of thing. Watch this! He’s serious. He’s heavy, but very talented. ♪ I got to class and had it made ♪ And so I stayed the rest of my life ♪ All thanks to Sis ♪ Now married and fat ♪ I said, I can do this The beginning is wonderful.
♪ I can do this ♪ That I can do ♪ I can do that ♪ Beautiful. TYCE: They said I did a beautiful job. I think it was Bob Avian who said, “Beautiful job, Tyce.” I watched everything that had dancing on it on television.
Especially… Oh, God, every Sunday it was… Ed Sullivan. Right. Ed Sullivan, every Sunday. Like church. Every Sunday it was… Ed Sullivan Ed Sullivan, every Sunday. Like church.
This man, he came around to my house selling… Lessons. And he was a terrific salesman. He put me up against the television set. He turned me around… Picked up my foot and… Touched it to the back of my.
.. Head… …and said, “This little girl could be a star.” “This little girl could be a star.” (CHUCKLING) I did Fosse here for two and a half years. So I went up to the top floor. I went to the old dressing room, and all of a sudden I just started.
.. My tears started coming. Like just total… Completely crying, like, thank you, God, like, for… I’m so glad I’m here. ♪ But everything was beautiful at the ballet ♪ Graceful men lift lovely girls in white ♪ Yes, everything was beautiful at the ballet ♪ I was happy at the ballet ♪ Good, Rachelle, great.
Just wait in the wings for a second. Okay. It wasn’t here today. It wasn’t there at all. I would give her an adjustment and see what she does. Okay. I want you to try it again. Okay. You made some very different choices today than you did the last time you read it.
You went to a very vulnerable place today that you shouldn’t have. And when you came in last time, you threw it all away. You were funnier… That’s fine. Yeah. That’s the girl I want. Yeah. Yeah. RACHELLE: And he said, “I want you to do what you did last summer.
“ I didn’t know what I did last summer. I had broken up with my boyfriend. I had all of this stuff last summer. It was eight months ago. And I don’t know what I did last summer.
All right. Can we do it again? Yeah. Absolutely. Okay. Do you need a couple of minutes? Yeah, let me take a second. Let me just… I’ll see someone else and call you back. Yeah, why don’t you do that? Okay, okay.
All right, Cyrus. I’ll be back. MAN: Sheila, come downstage. Closer. Can I sit in your lap? Do you always come on like this? No, sometimes I’m aggressive. Actually, I’m a Leo. What’s that supposed to mean? It means the other 11 months of the year need to watch out.
I’m very strong. Maybe too strong. Am I doing something you don’t like? You told me to be myself! (CHUCKLING) Bring it down. Bring what down? Your attitude. ♪ But everything was beautiful at the ballet ♪ Graceful men lift lovely girls in white ♪ Yes, everything.
.. (SIGHING) ♪ Was beautiful at the ballet ♪ Hey, I was happy at the ballet ♪ Good, Deidre. Bravo. Thank you. BOB: You did really good. Thanks so much, you guys. BOB: All right. Take care. BAAYORK: Bye.
Your mind can be really mean to you about things like this. Like maybe you’re going to be too this or too that or whatever. So it’s just a matter of trying to zone out about today. Let’s get one thing straight.
I never heard about The Red Shoes. I never saw The Red Shoes. I didn’t give a…about The Red Shoes. ♪ Tits and ass Bought myself a fancy pair ♪ Tightened up my derriere Did the nose with it ♪ All that goes with it Tits and ass ♪ Had the bingo-bongos done Suddenly I’m getting national tours ♪ Fixed the chassis How do you do? ♪ Life turned into an endless medley Of “Gee, it had to be you” ♪ Why? Tits and ass ♪ Am I done? I think you are.
Okay. You’ve done great. That’s great. ♪ Flat and sassy I would get the strays and losers ♪ Beggars really can’t be choosers ♪ That ain’t it, kid That ain’t it, kid ♪ Fixed the chassis How do you do? ♪ Life turned into an endless medley Of “Gee, it had to be you” ♪ Why? Tits and ass ♪ That’s all we need.
MEREDITH: Okay. Thanks, Meredith. Thank you. She’s like the Hollywood starlet version of her. NIKKI: You know what’s funny, is when we were dancing that day, this blonde girl that I had never seen before was killing it, just dancing circles.
And I thought, “Who’s that girl? “I really hope she’s not up for Val.” And I went up to her and I said, “What part are you up for?” And she’s like, “I’m up for understudying Cassie and Val.
“ So the day after I turned 18, I kissed the folks goodbye, got on a Trailways bus and headed for the Big, Bad Apple. Because I wanted to be a Rockette. Yeah, let’s get one thing straight. See, I never heard about The Red Shoes.
I never saw The Red Shoes. I didn’t give a frig about The Red Shoes. That was my plan. New York, New York, here I come. ♪ Life turned into an endless medley Of “Gee, it had to be you” ♪ Why? Tits and ass ♪ Where the cupboard once was bare ♪ Now you look and someone’s there ♪ You have got them, hey Top to bottom, hey ♪ It’s a gas Just a dash of silicone ♪ Shake your new maracas and you’ll find ♪ Tits and ass can change your life ♪ They sure changed mine ♪ Do you have a cold today? Yeah.
Yeah, I do. All right. It’s kind of hard to hear myself today. All right, but you did really well, darling. Thank you. It’s a cold. (JUDGES CHATTERING) So I’m a little freaked out ’cause I got called back onstage to do the scene again.
So, I don’t know. Hopefully that’s a good sign. Today, you were working it a little hard. Okay. Go at it a little easier. Okay. And think of her being a little… What’s the word? Less of a showgirl. A little more innocent.
Okay. I don’t know if that confuses you. No, that’s good. I’m from St. Louis. Okay. You knew what I meant. Yeah. Oh, yeah, let’s get one thing straight. I never heard about The Red Shoes. I never saw The Red Shoes.
I didn’t give a frig about The Red Shoes. …you, Radio City and the Rockettes. I’m going to dance on Broadway. ♪ Well, dance, ten Looks, three… ♪ BOB: Good. Nicole. Nicole, much better, darling.
Yeah, is that more what you’re going for? Yeah. Okay. It’s more honest, you know. It’s… I was a little schmaltzy and nervesy this morning, huh? But this was good. Good. Very good. Excellent. I’m glad we had this moment again.
I’m glad I came back. Yeah. Excellent. RACHELLE: What did I do last summer? Rack them. How am I going to repeat what I did, I can’t remember what I did? What does he remember that was so great? How do I get that back? That’s when you start getting vulnerable.
But she wanted to be a dancer. And she had all these scholarships and all that. And when she got married, my father made her give it up. Isn’t this exciting? If you start to doubt or question, you know, you’re done.
I couldn’t get it back. I couldn’t get back that one day. You can’t do it until you’re eight. Well, by then, I was only six, and I said, “But I’ve got to dance.” Good, Rachelle. Good girl.
You did really good. Thank you. Did I get it? (ALL LAUGHING) Jay, before you’re done, I want to see you. When you have tried to have ideas, and for whatever reason it’s not working, that’s when it becomes very frustrating.
Yes, Jay? I’ve been castrated, so… I was going to say, what did she do? She said, “Listen, it’s been eight months. “Tell me now. Did I get it or didn’t I?” And she said, “I’m a big girl. I can take it.
“Tell me right now. Did I get it or didn’t I?” What’d you say? I said, “It’s between you and someone else,” and she said, “Go find out who is going to play the part.” She’s not bitchy. She said, “I just want to know.
” Just tell her that she didn’t get it. She didn’t get it. Yeah. Okay. He’s not going to come back alive. He’s going to come back with an ax in his head. It’s not you. It’s just my fate, I guess. I’m on Broadway, just waiting and anxious.
If you only knew. But it’s all good. All right, then. JAY: Deidre walked onstage and opened her mouth and there it was. I got it. No, I got it! I got it! (LAUGHING) That was one of the greatest joys that we had.
I’m about to piss my pants. I should do my laundry. I should do my laundry, but I don’t want to do my laundry. I’d rather have a cocktail. (WHOOPING) (LAUGHING) I feel really good. I woke up feeling good today.
Twenty-three is a good number for me, and that’s today, January 23rd. MAN: Cassie, stay onstage, please. CHARLOTTE: Whenever you audition for any show, it’s never easy. Maybe… You know what it is? It’s having all those lights on you on the stage there ’cause you’re not used to that.
You’re used to black stage. Do I see him? I mean, am I talking to him or is it a voice? You can’t really see him. He’s in the back row of the theater. So back there, even though I see you, Michael. Okay.
I… I’m fine. MAN: Do you want me to move? No, no. The lights are in my face. It’s fine. I mean, I can block you out. Yeah. Okay. This audition’s really interesting, isn’t it? Yeah. What are you doing here? What do you think? I need a job.
What do you think? I need a job. In the chorus? Zach, I’d love a part, of course. Look, Zach, I’d love a part, of course, but I’ll take what I can get. You’re too good for the chorus, Cassie. Too good? I did a couple of dance parts.
So what? You were featured. You stopped two shows cold. Your career was going fine here in New York. God, you sound like all of my friends, my fans! Acting like I’m a star and don’t know it, when the truth is, I never even came close.
And no one has the guts to tell me. Sure, it would be nice to be a star, but I’m not. I’m a dancer. Well, it would be nice to be a star, but I’m not. I’m a dancer. The next section. I know this choreography.
I’ve done it, you know? So I know it. It’s a question of just letting yourself fly. ♪ Play me the music ♪ Give me a chance to come through ♪ All I ever needed ♪ Was the music and the mirror ♪ And the chance to dance for you ♪ Give me a job And you instantly get me involved ♪ If you’ll give me a job Then the rest of the crap will get solved ♪ Put me to work ♪ You would think that by now I’m allowed ♪ I’ll do you proud ♪ I’ll do you proud ♪ Play me the music ♪ Give me the chance to come through ♪ All I ever needed ♪ All I ever needed was music ♪ And the mirror And a chance ♪ To dance ♪ BOB: You did great today.
All right. Thanks, darling. That was great. Your day is done. Thanks for working so hard. Natascia, you did really well today, darling. Thanks so much. You were beautiful. No, it was horrible. God, please.
Please. You were so beautiful. Well, thanks. So were you. You were so beautiful. It’s great to see you again. Good luck, honey. We’ll see what happens over the next phase. Yeah. Good luck, Natascia. I’ll speak to you soon.
Do you want to tell her? You want to go back and tell her? All right. Go back. You’re okay? Take care. WOMAN: You, too. All right. It was the first time I didn’t work, and I was really sad, and I thought maybe I wasn’t supposed to do this anymore.
And I even took one of those aptitude tests, like, “What should you do when you grow up” tests. And it said you should use your intuition and perform. And so I get to keep doing it a little bit longer.
And I love it. It feels great. It just feels great. (PHONE RINGING) Hello? Hello? Yes. Yes. MAN ON PHONE: Hi, my darling. Hi. I have good news for you. Great. Let me sit down. Yuka’s getting the offer for Connie.
Shut up! Yep! I’m happy. I had a great audition for Chorus Line. I did what I did. I grew this much. Tyce isn’t getting it. Tyce kind of melted down a little bit, frankly. His dancing yesterday was really wild.
His ego, it was out of control. I want my own show. I want to be on a soap opera. I want a record deal. I want to do so many things. I see myself walking up some stairs receiving an award somewhere.
I try to just imagine all these great things, you know? Everyone’s doing it. Everyone’s doing it. So many people are in show business. How did they all get there? There’s room for more. Why not? (SOBBING) Mama? So, they just took me, like out, out.
You know, outside, after, you know, to tell me something. And I got the job! (LAUGHING) That’s why I couldn’t let you leave. We really liked you. We were gonna call you, but we figured we’d better let you know now.
Anyway, congratulations. Thank you so much. (SQUEALING) (LAUGHING) Thank you. Thank you. She’s playing the role. She’s playing the role! MAN ON PHONE: Megan, I’m going to run and kiss you right now.
Well, you should ’cause I’m pretty fabulous. Are you kidding me? No, I’m telling you the truth. I think I’m gonna cry. I know. You sound like you’re gonna cry.
It’s important because it’s a story about dancers and what we go through every day. And the stress and what problems we have, you know. And dealing with it and living with it. And not regretting it and just living our lives.
I think that’s why this work is so important, ’cause it’s the truth. It’s one of those things probably for the rest of my life that I won’t get over. It’s that one job that you’ve always wanted. I’ll see you in a minute.
I’m gonna get changed. All right. Bye. You’d better look in the mirror, and you’d better like yourself because they’re not gonna like you all the time. There are going to be 100 nos to one yes. Where’s your picture? My picture’s right there.
See, right there? I’m still waiting for my break. I’m still… I’m still waiting to have my chance, to come out and be the lead on Broadway. And I know that’s gonna happen. I just… I know it’s gonna happen.
Well, sure, I can do terrific fan kicks, but they weren’t good enough. Of course, he was trying to tell me it was the way I looked and not the fan kicks. So I said, “Fuck you, Radio City and the Rockettes.
“I’m gonna dance on Broadway.” BOB: Well, we finally made it to the big night, opening night on Broadway. God, I never thought it would happen. ♪ …nobody else will do ♪ Can’t help all of her qualities extolling ♪ You know you’ll never be lonely with you know who ♪ Loaded with charisma is my ♪ Jauntily sauntering, ambling shambler ♪ One moment in her presence ♪ And you know you must shuffle along, join the parade ♪ She’s the quintessence of making the grade ♪ For the girl is second best to none, son ♪ Oh, strut your stuff Can’t get enough of her.
.. ♪ Of her… ♪ She’s the one ♪ It’s about us. It’s about what we do. It’s about the hard work it takes. It takes your guts. It takes your soul. But you’re willing to give it.
♪ One singular sensation Every little step she takes ♪ One thrilling combination Every move that she makes ♪ One smile and suddenly nobody else will do ♪ You know you’ll never be lonely With you know who ♪ One moment in her presence And you can forget the rest ♪ For the girl is second best to none, son ♪ Ooh! Sigh! Give her your attention ♪ Do I really have to mention? ♪ She’s the.
.. She’s the… On my God, I’m on Broadway? That’s all I could say on that stage. I did it. ♪ …the one! ♪ It’s his masterpiece. I think he’d be thrilled. I think he’d say, “Thanks, Bob, for doing it again.
” I really wanted this. (CHUCKLES) And so many people did so much to help me get this, and not only Joe Papp and Marvin and Ed and Nick and Jimmy and Bobby and the nine orchestrators, and Bobby Thomas and the cast and my darling Donna McKechnie, but everybody that I’ve had the opportunity to work with in the theater.
I mean, they’ve all taught me things, and I only wanted one thing. To be a Broadway director, and I am. And I wanted one moment and I have it, and I thank you. (PEOPLE APPLAUDING) (MICHAEL SPEAKING) ♪ Kiss today goodbye ♪ The sweetness and the sorrow ♪ Wish me luck, the same to you ♪ But I can’t regret What I did for love ♪ What I did for love ♪ Look, my eyes are dry ♪ The gift was ours to borrow ♪ It’s as if we always knew ♪ And I won’t forget what I did for love ♪ What I did for love ♪ Gone Love is never gone ♪ As we travel on ♪ Love’s what we’ll remember ♪ Kiss today goodbye ♪ And point me toward tomorrow ♪ We did what we had to do ♪ Won’t forget, can’t regret ♪ What I did for love ♪ What I did for love ♪ What I did for love ♪ Love is never gone ♪ As we travel on ♪ Love’s what we’ll remember ♪ Kiss today goodbye ♪ And point me toward tomorrow ♪ We did what we had to do ♪ Won’t forget, can’t regret ♪ What I did for love ♪ What I did for love ♪ What I did for love ♪
