There is something in the nature of the choreography and music of the show that is both invigorating and consummately bad ass. I get this heady rush of adrenaline that courses through my body like an epic growl every time I have the chance to do the movement. He had me do the combination three times... hope that is a good thing. It was a rare privilege to get significant constructive and positive feedback from a member of the original cast!
My callback to sing was a good reminder to always be aware of the fact that these experiences require the focus and tenacity of any other type of job interview. I was a bit unprepared for the brusque-ness of the accompanist, and the fact that she started playing when I was mid slate (meaning half way through saying my name and the song I was going to sing). Eep!
In any case, Mr. Brent said I was "excellent, really fabulous" (I sang Macavity, of course. Never will I pass up the chance to have fun with such a sexy beast). Then he asked me what director I did Cats with (I said my high school dance teacher). But then he said nothing else! So who knows... hopefully I'll hear from them. The Cohoes Music Theatre contract would be right after the CAP21 show; if only the stars would align in my favor for both!
Well, now I have work, more Cuban, and an audition for Wicked awaiting me tonight and tomorrow. Every exit is an entrance to something else!
Here's Polina Semionova of Berlin Ballet with Robert Bolle for some much appreciated technical inspiration:
The FEET, the LEGS, obsession.
With love, always,
A Broadway Baby
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