Rober>T<: Great words of advice. Speaking of storytelling. I've assembled several women who have told yours over the past years. I've asked each of them to participate in a little thing I call:

"Magnificent Maggie's"

Melissa Center, Maggie ~ Hawaii & Nemacolin.

Would like to ask you . . .

Were you ever afraid or was there a moment when you couldn't belt the high "e" in "Ballet"?

KayCole:

No . . . because it was not just about just hitting a note . . . It's about the emotion of the inner monologue and expressing that emotion.

Erin Malloy, Maggie ~ National Tour 

Asks:

"Did you ever get sick of being the "nice" girl on the line? And if you could have been anyone else on the line, who would it be?

KayCole:

Well, I don't think of people as being nice or not nice.

I ended up playing Diana for three months, later on, to answer the second part of your question.

Rober>T<: Was that difficult hearing someone else sing "At the Ballet" while you were on stage?

KayCole:

No, because it was a part of the storytelling.

The interesting thing was having to learn a brand new role. Everything was completely different. New marks, different choreography . . . vocal parts.

Kirsten Bracken, Maggie ~ West Virginia Public Theatre

asks:

After you had been cast in A Chorus Line . . . What was it like on the first day of rehearsal?

KayCole:

Hmmm . . . I'm sure I was excited. It was a very exciting time for us . . . Here we were doing this new, un-traditional piece of theatre . . . exploring new territory. There was lots of wonder and excitement!

Rober>T<: You were also a part of the second workshop. So you had already been a part of those creative energies . . . before the actual first day of rehearsal.

KayCole: Yes, so that made it a bit easier.

Merete Muenter, Maggie ~ National Tour.

Did you feel like you could relate to the character of "Maggie" more than any other character on the line? Or did you feel you were more similar to another character, and perhaps may have wanted to portray that person instead? And if so, which one?

KayCole:

Hmmm . . . That's a duel edged sword, really . . . I relate to Maggie the most . . . I am Maggie. I've never wanted to be someone else . . . that's not my style. As an actress, I wanted to be other people. That's what this show enables you to do. Explore your natural behavior as an actress. I'm definitely closest to Maggie. I was able to expand myself as an actress when I got to play the role of Diana.

Rober>T<: Did you cover the role of Diana in the original production?

KayCole: No, I wasn't a cover originally. I only played Maggie.

Dena DiGiacinto, Maggie, u/s and performed ~ Asia tour.  Currently on Broadway in the New Broadway Production of A Chorus Line (u/s Diana, Connie, Bebe)

Asks:

You have such an amazing voice. I was wondering if "At the Ballet" is in the original key . . . or did Marvin try different ones to suit all three women. (I have a feeling you can belt much higher!). 

KayCole:

I can actually belt higher . . . It had to do with the modulation from Ballet Blaze . . . which key sounding the best. You get different emotions with different keys in music. It seemed most natural to have the pathos and longing when the song continued with the notes of the key that it is in now.

Lauri Kraft ~ Maggie u/s, Paper Mill Playhouse

My question for Kay is: After doing so many performances of A Chorus Line... is there anything about the show you would change? Anything you would add, take away or tweak if you had the choice?

KayCole:

No. Absolutely not. I've had the privilege of directing the show numerous times . . . So I've had lots of opportunity to explore the story and the characters within it. I would change nothing. It's in many ways, a perfect show.

Nancy Wood, Maggie u/s, Original International Co./London

Says:

"I loved playing the part of Maggie as I could relate to her so much. I particularly loved singing the "Please take this message to Mother from me....." section of the montage. I had just lost my mother a few years earlier (as a teenager) and this gave me an opportunity to have a conversation with her. How did you connect with this section?"

KayCole:

Well it made me feel close to my mother and Ed Kleban wrote it because he knew how much I missed her.

Rober>T<: You know Ed Kleban and I have the same birthday.

KayCole: Oh wow!

Rober>T<: It's true . . . I've always had a special connection to "Majauntily, Sauntering, Ambling Shambler."

Charlene Carr, Maggie ~ Paper Mill Playhouse

Asks:

Since the ballet was an escape for Maggie, Bebe, and Sheila. Was that true to your own life? And if so, does that remain the same or did something else become a place of refuge later on in your life? What makes you feel most at home?

KayCole:

I'm usually most comfortable in my own skin. Being a director and a choreographer encompasses everything that I am. Dance class for Maggie is more like heaven to her . . . as opposed to a running away place. The reality of being told a step and creating a story behind it . . . having a monologue behind every move you make . . . that makes you powerful. It helps you be more versatile. Ballet is like Zen . . . a perfect world.

Jennifer Brooks (Once, twice...8 times a Maggie...and now a Val.) European Tour (Troy Garza), TUTS (TX-Baayork Lee), Carousel Dinner Theater (Donna Drake/Michael Gorman).

Having played Maggie many times myself I found it hard to break out. I wanted to move on and do other roles in Chorus Line so that I could continue to grow as a performer but so many people "just saw me as Maggie" that it was hard. I know you went on later to play Diana, did you find it hard to convince the people on the other side of the table that you could play other characters? Did you find it hard to get other work after being in such a Broadway Phenomenon?

KayCole:

Yes . . . to all those questions. I did find it hard to convince people that I could and should be allowed to do other roles. It's hard once you've played a character like Maggie, because Maggie is a "loved character" . . . people don't want to let go of that image of you. What helped me was embracing that they were loving me with that much affection . . . Then it didn't become a stumbling block.

Tracey Bonner, Maggie ~ u/s performed ~ national tour

her question is this...

How did you find the personal connection every night for such an intimate story to make it real for your audience?

KayCole:

If you're an actress and you understand the story you're telling . . . there's no problem with finding a personal connection every time you play a role. No matter how deep or intimate the story is. Everything you do has to relate to the character's story and what he or she is feeling at the moment. And if you are doing it right, it is personal.

Was there a time that playing Maggie was so personal for you (something going on for you privately) that it made it the most meaningful or the most difficult time to do your job?

KayCole:

During one's creative journey there will be times where your personal life will resemble the same textures and colors of the roles you're playing. It's important to embrace them and not let it get in the way. Hopefully it's a benefit (to your performance.)

Mara Davi ~ Maggie, New Broadway Cast (original cast)

writes:

I wish I had had the chance to meet Kay this past year while working in the show. Especially after listening to her and singing along with her everyday as I was growing up with the show and during the days leading up to rehearsals!

During rehearsals, I would get a different story from everyone about Maggie's relationships on the line, who she knew before, who she liked and didn't like. I got so many different stories; I chose to decide for myself. But I'd love to know the true story.  In the beginning, who did your Maggie know when she arrived at the audition?  Who did she make friends with while she was there?  Who did she not get along with?

KayCole:

There was nobody she didn't get along with at the audition. She was daunted by the "balls-iness" of Sheila. She knew Judy, Al . . . Connie. And because life imitates art and art imitates life. I became very close with Thommie (Walsh), Rick (Mason) and Michael Stuart. You can't help loving the person you're standing next to on line. Wayne Cilento, for example. She knows who Cassie is. Just like everybody knew who Donna McKechnie was. Sheila is so candid . . . It's exciting for Maggie to see someone who has that kind of freedom.

We all became quite close (original cast), for different ways and reasons. I saw Sammy (Williams) do a piece recently. Ron Kulman and Ron Dennis were there. Nancy Lane was supposed to be there too, but one of her sons had a sports accident.

Rober>T<: Oh no! I hope he's okay!

KayCole: He is.

Rober>T<: Good, I'm looking forward to getting Nancy's interview up on the site soon. Time has passed since we originally did it and I'd like to update it before it goes on line.

KayCole: I'm looking forward to seeing the touring production when it comes to LA next year!

Rober>T<: May 21^st through July 6^th I believe.

Here's one more question from Mara Davi:

Why do you think Maggie doesn't get the job?

KayCole: Because she's young in her experience. She has much to learn before she can be a part of something as free form as that.

Click here to continue to part four