Cheryl Clark: Chorus Line's (2nd) Greatest Cassie?- Page 3

[ghostlight2]

Posted: 7/20/10 at 12:04pm

I don't want to be old grumpy "but I was there" dude, but that scene repeated every night she played Cassie - and she had groups of people there every one of those nights. The screams and shouts were coming from their section. I understand her excitement from finally being allowed to play the role she had understudied from day one, but, like the hair, I found the reaction from her audience members very distracting.

ETA: If you view the LC archive of ACL, you'll notice this effect. For that performance, and for that performance only, Ms Goldyn, when stepping out for her bow, gets the loudest and longest applause of all, complete with shrieks.
Updated On: 7/20/10 at 12:04 PM

[SonofRobbieJ]

Posted: 7/20/10 at 12:21pm

"Hey, look at me, ma, look what I can do!"

But that is literally what she's doing in that moment of the show (sans the 'ma' part). She is making her case why she should be there...auditioning for the chorus. And to watch her go through the range of emotions that that song entails was thrilling. I was lucky enough to see Donna McKechnie live when she returned to the role in 1988. And I've seen many a Cassie since then. Goldyn's dancing of the that number is the closest I've ever seen to the magic that McKechnie brought to it. And yes...I'd love to see her take on the role in 10 years when she's absolutely right for it.

PS...LOVE the hair. LOVE it.

[FindingNamo]

Posted: 7/20/10 at 12:28pm

Cassie is saying "Hey, look at me, pa, look what I can do!", so it's close.

[SonofRobbieJ]

Posted: 7/20/10 at 12:37pm

Yes...but as Cassie was Donna McKechnie and Donna McKechnie was Cassie, it really worked on a meta level, no? And we're down the rabbit whole.

I think what works best in ACL is when the actor/singer/dancer playing the actor/singer/dancer brings what is most 'them' to the part. The documentary, EVERY LITTLE STEP, really brought that point home. I wondered why certain casting decisions were made for the revival, and then, getting that glimpse into the audition room, you totally get it. Now...it could be argued that what was so bracingly original about those auditionees was sanded away to fit into the ACL mold...which is why I think what works best in this particular show is to bring make the character as close to yourself as possible. It could be the only show I feel this way about.

So Jessica Lee Goldyn telling us through dance why she loves to dance, why she MUST dance becomes Cassie telling us the same thing. And that's why I think the show still works. For all that may feel dated (or period) about it, the reflection of actor and character make it so very real in a way most other musicals cannot achieve.

[Phyllis Rogers Stone]

Posted: 7/20/10 at 12:37pm

Two things - 1) Is that video of Cheryl Clark running at a faster than normal speed? 2) I thought the majority of Cassie's dance is "in her head."

Updated On: 7/20/10 at 12:37 PM

[ghostlight2]

Posted: 7/20/10 at 12:38pm

Cassie is saying "Hey, look at me". Ms Goldyn shouldn't be.

I can't believe I'm about to say this, but...maybe that doesn't come across on film - and in any case, as always, YMMV. And ain't that a beautiful thing?
Updated On: 7/20/10 at 12:38 PM

[best12bars]

Posted: 7/20/10 at 12:58pm

Such a conspiracy! So are you saying Jessica has rich friends who go every night? Or she bought them all tickets if the promised to yell for her? Or perhaps it's that Jessica has hardcore fans out there who have followed her career and thrill to see someone dance like this.

Honestly, if I were there and saw her do this live I would probably join them in clapping and cheering (something I hardly ever do). Her rendition is so raw and emotional, it reminds me of the vocal feedback Jennifer Holliday got every night singing "And I'm Telling You."

Maybe Holliday had a lot of wealthy best friends, too, who went to see her every performance just to yell. Yes, I like this conspiracy theory. It's so realistic and possible.

Jessica strikes me as a rare gem. She's a dancer who can act while she dances. This clip is basically a monologue "spoken" by a dancer. I'm not watching steps, I'm watching her thoughts and feelings manifest themselves physically. And at age 20, that's pretty inspiring.

While (arguably) Cheryl Clark might have executed several of the moves better, or closer to the intended "written word" of Michael Bennett, Jessica was speaking from the heart with every movement. It shows here. And the audience reacts to that communication and the "heat," I commented about earlier. I can feel it, too, and I'm only watching a tiny YouTube clip.

I can't wait to see what's in store for her. If she finds the right roles, the right choreographers, etc., I could see her being a McKechnie or a Verdon or a Rivera for her generation. Wouldn't that be thrilling?

*claps, cheers, hollers*

[Phyllis Rogers Stone]

Posted: 7/20/10 at 1:01pm

Best Cassie(s) ever

[Michael Bennett]

Posted: 7/20/10 at 1:12pm

Even if she did pay everyone to go and scream for her every night, its irrelevent to the discussion of her merits in the role.

[best12bars]

Posted: 7/20/10 at 1:13pm

LOL Totally, Phyl. You know, the funny thing is that the first part of that is really exciting. Then he loses steam and goes for camp.

Speaking of losing steam, that's what is so impressive with Jessica. She never loses steam with the dance or the energy or the focus of what she's doing. I get the impression that she could keep going for another ten minutes if she wanted to.

(Yeah, I know, she's 20.)


"2) I thought the majority of Cassie's dance is "in her head."

Not unless Rob Marshall is directing it.

The only parts of Music and the Mirror that I feel are "in her head" are the light change sections, first in the beginning of the song, and then in the slow part of the dance facing the mirrors. Those feel like personal thoughts (the lights help create that sense). But when the lights come up full, I feel like she's singing and dancing this for Zach and for the world. She is stating her case and claiming what is hers. It's her "improvised" audition and emotional plea.

EDIT: Those light changes are also used in "And ..." and "Hello, Twelve," so I think Bennett establishes this as a device for inner thoughts throughout the show. I never really analyzed it before, but it's always felt that way to me.

Updated On: 7/20/10 at 01:13 PM

[Phyllis Rogers Stone]

Posted: 7/20/10 at 1:15pm

I always thought when the mirrors swung around it was back in her head?

[best12bars]

Posted: 7/20/10 at 1:20pm

Swung around which way, Phyl?

When they turn inward, and the lights go down, (for me) this is Cassie "discovering" herself, as I wrote about earlier. It's "in her head," if you want to use that terminology.

As the music picks up and the lights change, and she begins to dance around the stage freely, I feel she is taking those inner thoughts and showing Zach (and the world) what she can do. (also known as "not in her head")

Updated On: 7/20/10 at 01:20 PM

[Phyllis Rogers Stone]

Posted: 7/20/10 at 1:29pm

Aren't there no mirrors when she starts the song? And then in the middle the mirrors turn?

I get the whole thing about the light changes at the beginning going from in her head to her actually talking to Zach.

I thought - and this is from stuff I've read, so it could be jumbled in my head - that the light changes (not only in Music and the Mirror, but throughout) contrasted what was actually being said to Zach and what was going on in the dancers heads.

That's why I thought that by the time the mirrors "swing around" in Music and the Mirror (meaning when it goes from blackdrop to the mirrors) we were no longer at the audition but inside Cassie's head.

[best12bars]

Posted: 7/20/10 at 1:35pm

Well, I personally don't think all of Cassie's dance from the mirror turn onward is "in her head," any more than I think the other musical numbers (I Can Do That, T&A, At the Ballet) are "in their heads."

It's a musical, so the fact that they are "performing" their feelings is part of the game.

Just because Cassie has mirrors doesn't indicate to me that it's a total fantasy, if that's what you mean. At the Ballet and Hello, Twelve both have synchronized choreography and major light changes (not very "realistic"), but I don't see those numbers as inner monologues. They're "talking" to Zach through the musical score and choreography.

Ya know? It's a musical.

[Phyllis Rogers Stone]

Posted: 7/20/10 at 1:38pm

Yeah, I'm not retarded, I know it's a musical.

I don't think it matters what it indicates to you (or to me for that matter), but I thought that was the intention with lighting and design. That much of this is in the heads of dancers. I believe the lights are called (and this came from the design team) "though lights."

"And" is a good example of the use of "thought lights" and how in that moment they are in their heads. Those singing in that song are NOT singing to Zach.

Someone more well versed on ACL (husk_charmer, maybe) and its lore might know more.
Updated On: 7/20/10 at 01:38 PM

[ghostlight2]

Posted: 7/20/10 at 1:42pm

"Those light changes are also used in "And ..." and "Hello, Twelve," so I think Bennett establishes this as a device for inner thoughts throughout the show. I never really analyzed it before, but it's always felt that way to me."

"that much of this is in the heads of dancers. I believe the lights are called (and this came from the design team) "though lights."

"And" is a good example of the use of "thought lights" and how in that moment they are in their heads. Those singing in that song are NOT singing to Zach. "

You are both correct. They are actually called "thought lights" when any company member or creative staff refers to them.

"Even if she did pay everyone to go and scream for her every night, its irrelevent to the discussion of her merits in the role."

Pay them to go, she didn't. Encourage them, she did. Believe that or don't. I think you'd agree that any time an actor's personal cheering section (even if they're just plain old fans like the Claymates) begins distracting other audience members, something's out of balance.

In any case, my comment on the audience members had nothing to do with the discussion of her merits in the role.

"I can't wait to see what's in store for her. If she finds the right roles, the right choreographers, etc., I could see her being a McKechnie or a Verdon or a Rivera for her generation. Wouldn't that be thrilling?

*claps, cheers, hollers*"

You forgot to shriek I agree with every word of the above. I don't think you'll find anything in any of my posts that disrespects her as a performer. I did not like her in the role of Cassie - that's no reflection on her performance. She was inarguably too young. In fact, I had nothing but praise for her skills as a performer. I have seen her live many times, before and after ACL. If all goes well, she will no doubt do very well for herself.





Updated On: 7/20/10 at 01:42 PM

[FindingNamo]

Posted: 7/20/10 at 1:43pm

I got the same thing from the Chorus Line books I read, Phyl. I recall mention of chunks of "At the Ballet" being "in their heads," too.

[Phyllis Rogers Stone]

Posted: 7/20/10 at 1:49pm

And the vast majority of The Montage. And the first time they do "One." And the second time they do "One," actually. The show is as (if not more so) metaphorical as it is literal.

[morosco]

Posted: 7/20/10 at 1:50pm

Speaking of lighting design here are Tharon Musser's papers and plots from the original production. I found it fascinating.
A Chorus Line

[Phyllis Rogers Stone]

Posted: 7/20/10 at 1:52pm

I think I never finished my original thought, which might be why there's some confusion. I get what ghostlight was saying about the "Hey, look at me, ma, look what I can do!" stuff because I thought by that point Cassie isn't doing it for Zach. She's doing it for herself.

[FindingNamo]

Posted: 7/20/10 at 1:55pm

Interesting papers, morosco. That's a lot of "thought" lights.

[best12bars]

Posted: 7/20/10 at 2:15pm

I'm actually glad there isn't one answer to the perception of these moments in the show. It's to Bennett's credit that he created a work that has realism, fantasy, inner thoughts, all somewhat open for interpretation by the audience.

I'm not caught up in knowing any director's intention, though. I shouldn't have to read footnotes or explanations about what they had in mind to understand while I watch it. If I do, then something's falling short with the basic "communication" to the audience.

And I don't think Michael meant to be confusing or vague. There are moments in life where we think our thoughts out loud, sometimes catching ourselves off-guard with "Did I just say that out loud?" There are many moments in ACL that blur the lines between inner thoughts and outward realism. I find it wonderful to have a show that's open for interpretation by individuals. It's the best part of "art."

ghostlight2--I'm glad you see Jessica's potential, too. I actually think there are some incredible young performers in theatre now, just waiting to be nurtured. What we're really lacking is another Michael Bennett or Bob Fosse or Jerome Robbins. They mentored and created works for their "star muses." Verdon, McKechnie, and Rivera didn't get there on their own. So as good as Jessica is now, in order for her to grow and mature to that next level, she will need to find her Svengali director/choreographer. And that's going to be a real challenge, because Broadway doesn't encourage directors and choreographers to create shows for individual talents anymore. I'm not saying they don't serve a story and the characters, but they don't serve the specific performers anymore. At least not like they used to. It's all about creating a solid show that can run for 30 years and have 20 replacements that all fit the same costume and the same steps and the same songs.

It would be great if some director/choregrapher created a tailor-made show for Jessica, or Audra, or Chenoweth, Jackie Hoffman, or ...

Maybe it will happen. Problem is, if it's such a custom fit, you run the risk of it closing when they leave. That's a producer's nightmare these days.

[SonofRobbieJ]

Posted: 7/20/10 at 2:18pm

"I get what ghostlight was saying about the "Hey, look at me, ma, look what I can do!" stuff because I thought by that point Cassie isn't doing it for Zach. She's doing it for herself."

I guess I just don't agree with the notion that that is what Goldyn is doing. I think the brilliance of that song (and of the show in general) is the push/pull that exists in all performers. The desire to please the audience, and the desire to please yourself. I don't think they're mutually exclusive, where one must end so the other can begin. I think Cassie is doing it to get the job, as well as doing it because she has to...for herself.

[best12bars]

Posted: 7/20/10 at 2:27pm

"I think Cassie is doing it to get the job, as well as doing it because she has to...for herself."

I agree!

[FindingNamo]

Posted: 7/20/10 at 2:32pm

"I'm actually glad there isn't one answer to the perception of these moments in the show."

You seem to be arguing against that with your breakdown of exactly what is happening when in Music & The Mirror.