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Rebecca Kupka, Maggie, 2001 Tour. Asks: When you sang the high E in "At the Ballet," were you using a full chest belt or a slight mix? It sounds like a full chest belt to me . . . and I have a pretty good mix myself. But I don't know if I could maintain my voice 8 shows a week, full chest belting. KayCole: It's a full chest belt. It's a process of singing. It's the female version of a tenor. How the chords vibrate to be technical. Rober>T<: Back to the "One voice" we spoke of earlier. KayCole: Exactly. There's no break. It's one voice. Jennifer Lewis, Maggie ~ European Tour/Paper Mill Playhouse Asks: What would you think about/do while you were facing upstage in the dark and Shelia was singing? Did you visualize? Use method acting? Did you hum along softly? Did you think about your "to do" list? KayCole: No, I was listening to the storytelling . . . that would carry me into my story. J.Lew (cont'd) How has playing Maggie affected your life? Did it bring up issues for you? Did it help you tackle them? KayCole: I think you know. Fortunately, for me it was a fantastic experience. Hopefully informative to others who might or might not have gone through the same experience. J.Lew (cont'd), which was your favorite; The high E, "Mother," or "Dance for Grandma?" KayCole: I don't think of them as separate issues. I think of all of them as important to telling Maggie's story. So I don't have a favorite. They are all my favorite. J.Lew (cont'd), How important do you think it is as a woman to "write yourself. "To have a text . . . to perform your life? KayCole: I think it's important any woman or man to find a way express their innermost desires . . . their dreams and connect to other people. To feel . . . To love, through our common bond . . . Humanity. Charlene Carr, Maggie ~ Paper Mill Playhouse Asks: Have you liked the way the Maggie's have portrayed her in the past? Some tend to be very tragic with the role and Kay seemed to be more of a survivor in the way she portrayed Maggie. KayCole: The way the audience views you is their interpretation. Some might think you as tragic, whereas others not. It's how they view you in that moment. One shouldn't take that away. It does have to be personal, though . . . when you play any part. That's what makes you powerful. KAREN ZIEMBA, Maggie u/s & performed, Broadway asks: We were both part of the record-breaking performance when A CHORUS LINE became the longest running musical on Broadway. The first major highlight of that evening was when you and the rest of the original cast were revealed during "I Hope I Get It." What was that moment like for you? KayCole: It was like swimming in the ocean and feeling like you could just be swept away . . . but at the same time you knew you were completely safe. And now . . . A message from Broadway's original "Tricia" (and later a "Maggie" herself!) . . . Please welcome . . . Original Cast member of A Chorus Line . . . Donna Drake! Well, I've been racking my brain trying to come up with a "Kay Cole" question . . . at the moment I am at a loss for a question. When it comes to Kay Cole I can only think of my great respect for her and a deep appreciation for the gift the universe gave to her . . . She has the voice of an angel. I have no questions . . . only adoration for a dear friend. Love, Donna Drake PS Happy Birthday to Maggie Winslow! KayCole: Back atcha! Thank you Donna for that lovely comment. Speaking of Donna Drake. I had the honor of playing the role of "Bobby" for her and being her Dance Captain. During rehearsals I asked her to tell me about the first time she went on for a role in A Chorus Line. She said, "When the show was still downtown . . . There was a performance that Kay couldn't continue with . . . She did the show until the ballet back-up. Then exited the stage . . . Kay Cole went off and Donna Drake came on for "At the Ballet" and finished the performance." KayCole: Yes, I remember that night. I had sun poisoning and believe I collapsed into the stage manager's arms when I left the stage. I was so sick! Rober>T<: What kind of directions did Bennett originally give you? KayCole: Keep it simple, tell the story, and trust the text. Rober>T<: I hope every future director of this masterpiece reads those words and expresses them each day to their cast. Thank you Kay . . . You're an inspiration and delight to talk to. KayCole: Thank you. My pleasure. My deepest thanks to all the "Magnificent Maggie's" who participated in this interview. Here's what some of them have been up to: Lauri Kraft is enjoying a hot summer in Minneapolis with her two kids. Daughter Jamie is 2 1/2, and her son Jason was born in February! Mara Davi is currently starring in The Drowsy Chaperone on Broadway. She's also busy planning her wedding for next April! Jennifer Lewis is living in London, finishing up her Masters in Gender Studies from The School of Oriental and African Studies, University of London. Prior to that she traveled to East Africa and set up an informal grassroots collective of single, widowed and divorced working women in a small village in Tanzania. After completing her Masters, She hopes to work on women's rights and Women's sexual health, someplace in East Africa. Charlene Carr is getting her Masters degree in education at the University of Delaware. Tracey Bonner just finished teaching Musical Theatre at the Kentucky Classical Theatre Conservatory. She is heading to University of California at Irvine next to teach tap and jazz for the next year and to choreograph! Rebecca Kupka is currently on Broadway as a vacation swing in Jersey Boys! Karen Ziemba is currently starring as Georgia Hendricks in "Curtains" on Broadway. A role for which she received a 2007 Tony award nomination for. Karen won the 2000 Tony award for Best Featured Actress in a Musical for her performance in "Contact." Dena DiGiacinto recently joined the Current Broadway Production of A Chorus Line (u/s Diana, Connie, Bebe). Nancy Wood recently moved to Florida and will be playing the part of "The Woman" in a play reading of Death of a Salesman. Love to ALL, Robert
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