PERFORMING ARTS
New York and begins rehearsals. Most have never
met and have never performed in this show. Minutes
82
before the first full run-through, in a bare-bones
rehearsal studio, cast members are everywhere, most
practicing intricate steps and movements over and
over. One diminutive man holds an ax straight in
front of him and repeatedly jumps over the handle,
looking thrilled each time. Others throw themselves
on the floor, somersaulting and jumping up.
Clifton is at the piano. Stationed at a long table is
a whole lineup of designers. Seated in the center are
Brennan and Dys and Mark Johnson, the stage manager
who will be in charge of the production once
Brennan leaves. Next to them are lighting designer
Julie Duro and sound designer Craig Beyrooti. Next
is set designer Michael Anania. Finally, alone seated
at the end, is Cornell.
Also watching, from a small stage behind the designers,
is a group of patron producers. Back in 2010 with
the production of 42nd Street, Cornell asked a few theater
supporters if they would like to get more involved.
An annual donation of $10,000 helps defray the cost of
producing spectacular musicals. In turn, those patron
producers may attend the New York City auditions
and meet with the performers at various times during
rehearsals. Originally just 16, today they number 61. On
opening nights, they wear red carnations.
The goal of the moment is to run through the entire
show without stopping. For the next 3 1/2 hours,
Johnson calls out scene directions, actors ask for lines
and Dys writes notes on index cards, passing them to The contrast is sharp between NYC’s cool blue skyscrapers and tuxes and Dead-
>> rock’s primitive transportation and coonskin hats.
After saving the old theater by putting on a musical, everyone celebrates, carrying Polly (Church) through the streets. Showgirls dance with tin pans typically
used for mining gold.