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At the time that I am writing this, I have just returned from watching a rehearsal of On the Record in New York. If you have never had the chance to watch this process, it is thrilling! I was with Tony Brown from The Plain Dealer, who was developing his story on the making of a new Broadway-bound musical. It is a unique experience for a show like this to be created in our theatres. (The last one was Show Boat in 1927.) Tony has been a part of this journey since its beginning with the auditions in Cleveland this past June. As the elevator doors slowly opened on the third floor of the 42nd Street Studios, a beehive of activity was swarming in the hallway. To our right, a camera man was placing his fire-hydrant-sized camera onto his shoulder preparing for a shoot. At the left end of the narrow corridor, we could see clusters of actors and musicians catching a quick gulp of water during their break. Straight ahead were the red double doors leading to the studio. At the appropriate time we were invited inside. It was really just like you see in the movies – a high ceiling, mirrors on one wall and huge windows on two walls. Along the fourth side was a string of eight-foot tables filled with musical scores, lap top computers and a sprinkling of half full Starbucks coffee cups. My eyes were darting around the room trying to take in all of the excitement. In the center of the room, the dance supervisor was reviewing the steps from the previous number with a couple of the actors. Off to one side stood Robert Longbottom, the show’s director and choreographer -- the man responsible for breathing life into this new baby. He was focused on the dance number. His creative wheels were clearly spinning. Places were called for the beginning of Act I. Tony took his spot in a chair, notepad and pen at the ready. His photographer was crawling around on the floor snapping away. The film crew was moving back and forth like a hermit crab. My place was against the wall, hoping I was not in anyone’s way. The music from the piano filled the room. Immediately, I recognized the tune “Give a Little Whistle.” Wow! When was the last time I heard that number? I had to resist the urge to lie down on the floor, on my stomach, stick my feet up in the air and cradle my chin in my hands – much like I did on Sunday evenings while Walt Disney livened our living room. Over the course of the next hour, the company made their way through three numbers. I was amazed with the attention to detail – the hip goes there – the hands are like this – music builds in bar 16 – the set moves that way. Every note, every move was planned. It was like watching a five-dimensional checker game. Clevelanders will be the first ever to see this musical as it is created. By the first performance on November 9th, the company will have been working for eight weeks. During the run, however, they are rehearsing by day and performing at night. I am in awe of their discipline and aptitude and proud that they have chosen Playhouse Square as the place to showcase this impressive new musical. Enjoy the music, the memories and the immense talent! - Gina M. Vernaci, Director of Programming |
