BY Advocate Contributors
November 15 2010 9:10 PM ET
I have come to the conclusion that I entered the wonderful world of WotV with preconceived notions of what the creative process should be. I have never swung a show before and was not exactly mentally prepared to be sitting and watching rather than physically doing. By the time the dress rehearsal rolled around, I was at the height of my mental frenzy. While the other cast members were onstage for the first time in their costumes, doing the choreography, making their way through this brand-new show, I watched from the audience, notating their staging and choreography, fulfilling my dance captain obligations for the choreographer. It was a bit of a blow to the old ego.
See, I'm not a passive person. I'm not one to just "sit this one out.” It’s in my DNA to want to create and be all up in it. I want to dance my face off and be wrapped up in the whirlwind that is the creative process. Instead I've found myself sitting on the sidelines working on patience ... ugh, too time-consuming.
Then it hit me, a la Whitney Houston. "All at Once." There I stood at the back of the Belasco Theatre waiting for the curtain to go up. To my right was Christopher Gattelli, the show’s choreographer, and Bart Sher, the show’s director. To my left was David Yazbek, the show’s composer, and Jeffrey Lane, the show’s librettist. Here I am with a stranglehold on how this whole experience should be, and right smack in front of me is the amazing way it is.
Not many people get to see the first public performance of a brand-new Broadway show standing sandwiched in between the people who created it. I was seeing it, hearing it, and living it through with them. There was Bart jumping up and down when the audience would be laughing their heads off. There was David literally sitting in the aisle of the theater writing down music notes. Who was pacing up and down the back of the theater practically wearing down the carpet? Who was stoic and didn't budge an inch the whole show? A lady never tells.
While I'm not an every night onstage performer, my job has kicked into high gear. When Christopher has notes for the dancers, it's my job to give those corrections. If there are problems onstage with performers doing the choreography, I'm the one they come to help work things out. If a dance rehearsal needs to be called or an audition needs to be held, I'm involved. It’s dawned on me that the last thing the dance captain is, is passive. Not only do I have to know numerous roles to perform onstage, I also have varied managerial responsibilities. While I'm not onstage every night, this is my journey. This is my creative process.
It’s said the creative process is a lot like giving birth. If what they mean by that is that it's painful, messy, and, at times, it just plain stinks, then I suppose that old adage is correct. This whole experience has been a dream come true, but it has not been all glamorous. In moments it has been gritty, intimidating. and stressful. However, on the flip side of that proverbial coin, it has been enlightening, cathartic, and magical. It has been a wild ride from inception to birth.
So, if you happen to find yourself in New York City, walking through the theater district, throw on some scrubs, stop by the Belasco Theatre, and watch us push out a Broadway show! Women on the Verge is full of life and all about the process.
For more information on Women on the Verge ... click here.
- Gallery of Geek: Yannick Tallarida
- Dan Savage Calls Out Duggar's 'Staggering' Family Values Hypocrisy
- Op-ed: I'm a Trans Man Who Doesn't 'Pass' — And You Shouldn't Either
- Eurovision Winner Who Called Gays an 'Abnormality' Changes Tune
- For YouTube's 10th Birthday, the 10 Best LGBT Videos
- The Cities LGBTs Love And the Ones We Shun