Rober>T<: You epitomize what I call a "Triple Threat." Who do you accredit for your training?

KayCole: Well, vocally I studied with Lee and Sally Sweethold. They helped me be real in my singing. To create the "one" voice.

Rober>T<: What's that exactly?

KayCole: Well you have your belt; your mix and then you go up into where it becomes legit. The "one voice" is designed so all three become . . . one voice. 

Rober>T<: Fascinating. . . and well, it obviously works! Where did you get your dance training?

KayCole: I've always been a natural dancer. I was accepted into the Canadian Ballet School when I was very young.  But didn't attend. I had excellent acting mentors. Michael Thoma, John Frankenheimer, Morton da Costa, Tom O'Horgan, and Bill Hickey. We did a lot of work with improvisation and dancing. They all instilled in me to always "Trust in the magic."

Rober>T<: Great words of wisdom. Now, you did the Gala performance, correct?

KayCole: Yes, that was fantastic. It was great to have the family back together and to visit with everyone.  

Rober>T<: You sang "At the Ballet" at that performance, right?

KayCole: Oh yes, it was me, Kelly and unfortunately Nancy (Lane) couldn't be with us due to her shooting schedule on a television show . . . which I completely understand. So we performed the number with Terry Klausner.

Rober>T<: Did you notice a difference in Michael Bennett when he directed the Gala versus when he directed the original production?

KayCole: No, he was always Michael to me. Success didn't change him at all. Which is what I think the biggest challenge is once it happens to you. He was always true to his dream.

Rober>T<: Do you find yourself teaching the show as Michael did. Hear him in your words?

KayCole: I don't think so . . . I'm a really strong teacher and have my own voice. I'm also very loving of the material . . . the storytelling. I have a strong sense of how to guide an actor. To speak from their own voice and own hearts.

Rober>T<: Now, you're not from San Mateo.

KayCole:  No, I'm not

Rober>T<: Where did that come from?

KayCole:  I think it came from Donna (McKechnie), if you want to know the truth. It's a simple little town and Maggie's a simple, gentle person. It makes perfect sense that she'd be from a place like San Mateo . . . and how she'd react being at this audition after moving to New York.

Rober>T<: In the opening number, during the first elimination. Maggie and Judy slap hands when she makes the cut. Was that original or something that developed?

KayCole: Oh Yes, we always did that.

Rober>T<: I've always loved the way you delivered your name after Zach says "louder."  "Maaaggie Winslow!" like, "Can you hear me now?" . . . versus someone who's nervous. I've never seen a Maggie make that same choice and I wonder why. I think it's brilliant. . . not to mention hilarious.

KayCole:  Thank you, I'm glad you enjoyed it. But when you give it to someone else, it usually doesn't work. It really depends on your own unique personality . . . what your perspective is - your view. A good director hires the most perfect people. That combination of people is where the major magic happens.

Rober>T<:  Now, there's an "A Chorus Line rumor" that Maggie was originally supposed to sing "What I did for Love" Is there any truth to that?

KayCole: Yes, that's very true.

Rober>T<: Why did that change?

KayCole: It all has to do with the evolution of the play.  

Rober>T<:  Sure.

KayCole: I think technically it had something to do with contractual agreements.

Rober>T<: When you all were creating the opening number. For "Step, Kick, Kick" is there any rhyme or reason as to why people were placed in the lines they stand in . . . or did Bennett just say "Okay . . . we're gonna make three lines (four with Zach and Larry) everybody find a spot?

KayCole: No, I'm sure he had a reason for each person to be placed where they were. Nothing happens randomly . . . even if you think it does. It doesn't. Everything happens for a reason and there is a reason for everything. I know when I go in to direct or choreograph a show . . . I do my research. You have to do your homework.  It frees up the creative process. You have to understand the characters and the story you're telling.

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