B00AZRHQKA EBOK by Garson Kanin Read Free Book Online Page B

lyrics.”
    Twenty minutes later, AC came bursting in.
    “O.K., everyone,” Clay called. “Places, please. We’re ready.”
    An enormous semicircle. Everyone there—dancers, singers, principals, supporting. Hy at the piano facing them. The production staff in a semicircle across from the larger one.
    “Quiet, please!” from Clay.
    The response was instantaneous.
    “Good afternoon,” he continued. “This is a read-through, so stand by for your entrances and cues. Jenny will describe the dance numbers—and maybe sketch in a few, roughly.”
    “ Very roughly,” said Jenny.
    The dancers laughed and applauded.
    “When you’ve got a number to perform, please come to the piano and let’s have it.”
    “And stand close,” said Hy. “So I can belt you if you make a mistake.”
    Light laughter.
    Clay again. “We’re going for a tentative, preliminary timing, so read or play at performance pace and don’t stop. We’ll take a twenty-minute break between Acts One and Two. A reminder. No smoking on stage. No food or drink. Just talent. Thanks.”
    Larry came forward, but before he could begin, AC jumped up and faced the company.
    “My name is Jimmy Carter,” he said. “And I’m running for President. [ Laughter and applause. ] Thank you. Maybe I ought to sit down and quit while I’m winning, huh? No. I’m your producer and I want to welcome every one of you—including the tenors—and wish you well. Hell. Wish us all well. This is a great show and I’m proud to be connected with it and I hope all of you are likewise. [ Applause .] We’ve got a great Star, a great score, a great book, a great director, choreographer, designer, and so forth, so what have we got to worry? You notice how I didn’t say 'great producer’? That was modesty. That’s on account of what happened this morning. I got here before any of you, and I couldn’t get in. Fact. Know why? Because I went to the front of the theatre—twice. Fact. Nobody told me about the stage door. [ Laughter. ] So instead of 'great producer’—up to now you’d have to say 'schmuck producer.’ But I hope to improve and I hope that goes for the rest of you, too. Thank you.” [ Applause. ]
    Larry’s turn.
    “A tough act to follow, ladies and gentlemen. But. The next thirty-eight days are going to be among the most important of your lives and mine. I sometimes hear players beefing about certain rehearsal calls, and cheering when they hear they’re getting a day or morning or an afternoon or an evening off. This mystifies me. The rehearsal period should be regarded as that magical time when we learn our crafts, perfect our techniques, use our imaginations, experiment, take chances, discover, and grow. I did a survey once on the average time an American player spends in rehearsal in the course of his career. Any guesses? I’ll tell you. Two per cent! That’s all. We should welcome this chance to work and practice and create. Let’s enjoy it. After all, nobody beat you with a stick to go on the stage, did they? Feel free to do anything at any time. Be bold. If it’s wrong, I’ll tell you and we’ll edit it out. But let go. Show me. Give me stuff to work with. Be audacious. It’s easier to mold material than it is to drag it out. No one should be working in the theatre who’s afraid of making a horse’s ass of himself. Or herself. I agree with the producer—not about him being a schmuck. No one who’s been in a negotiation with him can think that [ Laughter ], but about this being an extraordinary show—potentially. All the ingredients are here—right here on this stage—and with all respect to all, the greatest is the ineffable magic of our Star. [ Applause .] How She got so good in so short a time is her secret, or God’s. All I know is I’m glad we’ve got her. The show is going to be built around her—and we’ve all got to help. Look at these little shoulders—they’re beautiful but delicate—and they’ve got to carry this whole