The Nitty-Gritty

It's so weird, or maybe not so weird, that after nearly 25 years in the theater, I know exactly where we are in the process and it never gets any easier. We're now more than two weeks into rehearsal and even though it's a wonderful company, today the "newness" seemed to drop like a rock and the confusion and insecurities that accompany this moment set in. When I say "this moment", I mean this moment in the process, because it's inevitable, like water from a raincloud, like an Elvis Wedding in a Vegas Chapel, that half way through the process all the proceedings become muddled and awash in vagaries. But it's okay, because these, being the "times that try men's souls", will inevitably lead to more clarity and a more specific performance. Right now, however, it sucks!

We spent the first part of the day rehearsing the bows. Now here's an interesting point. One would think that the "bows" for a show, when, as a performer, I am allowed to take some small measure of appreciation from the audience, basking (even for a brief moment) in the glow of an audiences acknowledgement of the work I've done and, possibly (hopefully) the enjoyment I've given them, are organic, and that "taking your bow" might be a spontaneous act, a moment when, at the end of a show, the actor or actors take a moment to step forward and get their just rewards (or boos, if so deserved). This is what one would think of the bows. But not in the world of musical theater. And definitely not in the world of MM! Let me give you a quick rundown:

The closing moment, Sky and Sophie, gazing into each others eyes, love conquering all; slowly, longingly, they walk off into the blaze of a rising moon. Show's over, audience (hopefully, again) applauds. The End, right? Wrong. Only just the start.

First we run on and take what we call the "silent bows", "silent" because we don't make any noise, but the audience (hopefully) does, filling the theater with thunderous applause. Then we rush off.

Next we start the "musical bows". That begins, strangely enough, with our leading lady Beth. Strange because usually the leading lady gets the final bow, but since the show began in London, maybe they do things differently over there. In any event, after her come her two female cohorts, Tanya and Rosie: then the three Dad's including myself, then Sophie and Sky. At this point it's just the "principals", the actors and actress' who have speaking parts, taking their bows, all while singing a reprise of "Does Your Mother Know". Then we rush off.

Next comes the "Mamma Mia" bows, when the ensemble (the absolute hardest working people on the stage every single NIGHT!) sing a reprise of MM and take their bows, all while performing choreography. (Think we've had enough bows yet? We're only halfway there.) Then they rush off.

Next is the "Dynamo's bow", the "Dynamo's" being Donna and Tanya and Rosie. A virtual rock concert ensues, complete with rising platform and smoke and strobe lights, as they sing a reprise of "Dancing Queen", all while singing and dancing and wearing spandex that leaves little to the imagination. Then, you guessed it, they rush off.

Finally, the piece de resistance, "Waterloo". Arguably ABBA's most famous song, certainly their first big hit. By now the audience A: is on their feet applauding and singing along; B: is sitting passively enjoying the end (if it ever comes); or C: has begun the process of insulin injections to counteract the effects of the saccharine overload. In any event, when "Waterloo" begins, Spandex is the word of the day.

Finally, FINALLY, the show is over, the bows are done and someone (the audience, the actors, the crew, the dressers, the custodian, the box office worker!) can go home. Then we start it all over again the next show.

So if you were under the assumption that when you go to the theater and see the performers bowing that it all just "happens", think again. It is very well thought out and usually very well choreographed. And in the case of MM!, it is very well accompanied, getting the most out of ABBA's best.

Following this part of rehearsal, we got down to the nitty-gritty of really working and re-working a few of the scenes. First was the "Take A Chance" scene between Rosie and me, clarifying a lot of moments that were "muddy " and making strong choices about where we were going, both physically and emotionally. It's at this point in rehearsal when things can get a little bogged down and technical, but you have to go through this to reach the other side.

The same held true for the "Name Of The Game" rehearsal which came next. Again, technical and not very glamorous, but we really began to solidify some choices which, up until now, were simply "meanderings" and "possibilities" ("We could do this? Or we could do this?") Today we said "We WILL do this." Once the structure or outline is set, it's much easier to explore the perimeters.

Thursday was strangely a day off for me, but Friday we begin anew, this time on the stage of the Winter Garden Theater for the first time! Broadway, here we come!