The Festival, a celebration featuring five outstanding high school student productions from the 2017-2018 school year, were selected from over 25 schools across the city by a panel of professional theatre artists and theatre educators. Over the course of the festival’s four-year history, school productions from all 5 boroughs have performed at the event. This year, student presentations from the following schools will present excerpted scenes and musical numbers as follows:
“We are so proud to have supported this Festival since its inception,” said Philip J. Smith, Chairman of The Shubert Organization. “The extraordinary talents of the students continue to astound year after year upon our Broadway stages.”
Sponsored by The Shubert Foundation, the festival is presented in partnership with the New York City Department of Education (NYCDOE). Funding for the Festival and for a range of existing Shubert Foundation programs in New York City public schools comes from a grant of $570,000.
“How inspiring to have Broadway and the broader theatre community embrace our public school student performers. These impressive teen artists, representing varied NYC neighborhoods, points of view and cultural backgrounds, all worked together to produce inspired plays and musicals for their communities. Through their focus on excellence and collaboration, these student ensembles serve as a wonderful reminder for the power of inclusivity on stage and off,” said Peter Avery, the Festival’s producer and the Director of Theatre for the NYC Department of Education.
The New York City Department of Education is the largest system of public schools in the United States, serving about 1.1 million students in more than 1,750 schools. The Department of Education supports universal access to arts education through the ArtsCount initiative, which tracks and reports student participation in arts education and holds schools accountable for meeting New York State Instructional Requirements for the Arts.
On Monday, 12 February the New York Public Library for the Performing Arts at Lincoln Center presented Baayork Lee in conversation with Robert Viagas. The show was produced in collaboration with the League of Professional Theatre Women’s Betty Corwin, with Pat Addiss and Sophia Romma. It was part of the League of Professional Theatre Women’s Oral History Program.
Baayork Lee is most noted for working with Michael Bennett as his assistant choreographer on A Chorus Line where she created the role of Connie. Throughout her career, she directed and choreographed The King and I, Bombay Dreams, Barnum, Carmen Jones, Porgy and Bess and Jesus Christ Superstar and other shows for many national and international companies. The exhaustive list reveals her impressive energy and exceptional talent.
And that is not all. She is a generous soul. Her intention to give back to the community, her verve and vibrant enthusiasm moved her to create a nonprofit organization, National Asian Artists Project. Through her prodigious efforts the N.A.A.P. has established programs educating, cultivating and stimulating audiences and artists of Asian descent. They have produced classical musical theatre ranging from Oklahoma! to OLIVER! with all Asian-American casts. Baayork Lee, the recipient of the 2017 Isabelle Stevenson Award was honored for her commitment to future generations of artists through her work with the N.A.A.P. and theater education programs around the world.
Interviewed by Robert Viagas, journalist and author with thirty-five years’ experience on Playbill Inc., the Tony Awards and author/editor of 19 books on the performing arts, Robert Viagas has proved his mettle. For The Alchemy of Theatre (Applause Books) he worked with Edward Albee, Wendy Wasserstein, Hal Prince, Chita Rivera and others. His 2009 book, I’m the Greatest Star! (Applause) includes biographies of his A-list genius artists, forty musical stars from George M. Cohan and Fanny Brice to Nathan Lane and Sutton Foster.
Here are excerpts of the enjoyable and lively conversation between Baayork Lee and Robert Viagas
When you were five-years-old you were hired for the original Rogers and Hammerstein’s King and I. Tell us how that happened.
Well, agents came down to Chinatown where I grew up. They went to a school there and my father’s restaurant. And they were looking for kids. We all went uptown and I got the job. (applause)
What was it like working on that show with Yul Brenner and Rogers and Hammerstein?
I learned to sing and dance on the job. I always tell the story of going uptown and getting on the stage at the St. James Theatre. And seeing the chandelier and the red velvet seats. And being on stage for the first time? I just knew that this was where I wanted to be. And I saw the girls warming up backstage. What are they doing? I want to do that. So I knew everybody’s lines and all the songs. I knew the songs for the King and the other parts. I wanted to be in the business.
Even though you were five and even though you didn’t have years of training, you had lines in the show. You were one of the little princesses Ying Yawolak, and they wrote you a speech. Can you tell the story of the speech?
Mrs. Anna is going away and I have a letter I read to her. But I couldn’t read at the time, so my mother helped me and I memorized the lines. “Dear teacher. My goodness gracious. Do not go away…” (audience laughs)
You must have done a great job with that because you were hired for a subsequent musical Flower Drum Song. Tell us the part you played. I’m particularly interested in hearing the story of how you went on in the lead role and you were twelve-years-old.
Well, I was fired at eight-years-old from The King and I because I outgrew my costume. And Rogers and Hammerstein gave us something as a consolation. There were three of us. One girl wanted acting lessons. Another girl wanted piano lessons. And I wanted dance lessons. I got to go to The School of American Ballet and Jerome Robbins helped me get in. I started studying dancing and wanted to be a ballerina. And here comes along Flower Drum Song and Mr. Rogers remembered me and by then a double pirouette was nothing for me now. I was singing and dancing. I got into the show. I was one of the kids in the show. I sang “The Other Generation.” And I don’t know how I got the part. But Anita Ellis was the Fan Tan Fannie girl. She was understudied. And her understudy went on to somebody else and her understudy went on to somebody else. And all of a sudden there wasn’t anyone else but me. And I got to sing F”an Tan Fannie.”
And how did that feel?
At twelve you have no fear, Robert. You have no fear at twelve. You can sing all the songs, do all the lines. You can do everything.
And thanks to N.A.A.P. you’re trying to expand opportunities for Asian-American actors. There was nothing like that in the 1950s, 1960s. Yet you were able to maintain a career through those years. You worked pretty steadily. You got to know certain people and they obviously respected your talent. How were you able to survive and work and succeed as an Asian-American woman in the early 1960s?
First of all I was a kid. So every show is was in I worked as a kid. From Flower Drum Song I went to the Performing Arts High School. And I graduated and I got a phone call from Carol Haney who was a choreographer of Flower Drum Song. She remembered me and said, “I am going to do a show and it’s called Bravo Giovanni.” And we’re going to Broadway. I said I’m going to Julliard. I’m going to become a dancer. And she said “Why don’t you just come and do the show for the summer and then decide.” So that’s what happened. It was a flop. Bravo Giovanni starred Cesare Siepi and it was Michelle Lee’s first show.
But it did win the Tony for Best Score over a Funny Thing Happened…
Oh. You know all the facts, don’t you. So I was sitting on the firescape of the Broadhurst Theatre and I looked and they were putting up a sign for the next musical, Mr. President. So I said, “Hum that looks interesting.” So I auditioned and I got the show. And I played with Nanette Fabray, as Deborah Chakronin and I was a kid in the show. And then there was a knock on my dressing room door. They said, “There’s a man upstairs who wants to see you.” I went upstairs and he gave me his card. He said, “I’m doing a new show. It’s called Here’s Love. I really think you’d be good in the show. Please come and audition.” I said, “Yes, Yes, Yes.” I went downstairs and said this man upstairs? It was Norman Jewison. And so I went over and I auditioned. And I was one of the kids in the show.
That’s a musical based on The Miracle on 34th Street, music with a score by Music Man’s Meredith Wilson. Not as successful.
And so I was a kid. And Michael Bennett was in the show.
You knew him before. What was he like as a kid?
I don’t know. All I can tell you is when I got Flower Drum Song, Michael told me I was so jealous that day at dancing school that you got Flower Drum Song, your second Broadway show and I hadn’t even had one. (audience laughs). But what was he like? I don’t know. Except at that time he said, “I don’t want to dance any more. I want to be a choreographer.” And we all said, “Oh, yeah, yeah. Sure, sure.” But he was very, very serious. I got the call. The musical director was Elliot Lawrence. And he said I’m doing a new show Golden Boy with Sammy Davis Jr. And there’s a part for a shoe shine boy. Would you come and audition? And so I did. And I danced with Sammy Davis.
Michael did manage to choreograph a couple of shows and he did not forget his classmate.
No. So I danced with Sammy in Golden Boy. And Sammy took us to London. My first trip to London. And I got a call from Michael saying he was doing another show. It was A Joyful Noise. And Tommy Tune was in it and Donna McKechnie. And so I came back and I did that show. We came to Broadway. And I got a call for another show when I was in London for Promises Promises and I had to get out of my contract for that. And he helped me get out of my contract and he brought me to do Promises, Promises.
And you were the featured dancer in” Turkey Lurky Time.” I saw you in that show, one of the first shows I saw early on. That is an incredible number. Did you have to wear a neck brace?
We were at the chiropractor at least once a week. All of us. I’d seen the show for three years. I loved being in the chorus. I loved being in the back. I was having a great time. I loved signing in and getting into the theater early. And Michael said you are going to be my dance captain. I said, “Oh, oh.” There were rehearsals and all that, I thought. But he treated me well, so I became his dance captain in Promises Promises.
If you go online and see clips of these songs, you see they are time capsules. You see Joyful Noise, you see Promises, Promises. When you look at all of them you see one Asian-American. What was that like?
I was very lucky. Very happy. My cousin Chester said, “B? You better represent! All Chinatown looking at you!”
Was that a challenge for you? What was it like? Being the One! The One Singular Sensation?
Special. I felt very, very special. I always appreciated being there and representing. Absolutely.
Another special show you did was Seesaw. You were in the chorus of Seesaw, but you did have a featured number in that show. And when they feature that show, they always use the same picture. Tommy Tune who is 6’6’ and they chose you to do a duet with him. And you were attired in masses of balloons and were on point the entire time. I saw you and thought. “Who is this girl?”
I think “Turkey Lurky” may have been bigger. By the time I was in this show I was known and to dance with Tommy Tune was really quite an honor.
I don’t know. With “Turkey Lurky” you were one of three with Donna. But with this number you were next to Tune.
Ah, OK. Michae Bennett was very ahead of his time. We were not the standard kind of, the blonde, 5’5’ you know. But you have Tommy Tune, Baayork Lee and those in the show were all shapes, sizes and colors. And he was very ahead of his time.
Do you remember the conversation or phone call where he mentioned this show he was doing about chorus dancers? Do you remember him discussing the show that became A Chorus Line?
No. But I do remember all through my time working with Michael, he always said, “I want to do a show about dancers.” He’d been saying he wanted to do a show about dancers. Because dancers unlike actors never asked him why. They just did what he told them. (laughter)
He wanted you to be the dance captain on that.
First, he wanted me to be his assistant. At that time in the olden days, you had to have a choreographer or a director or you didn’t work. Jerome Robbins had his dancers. Bob Fosse had his dancers.
Special people that he worked with all the time.
Yes. Because they developed their own style. And they invested in their dancers and their actors. And so Michael Bennett had to get his klan together. And this was very important for me that I finally found a home. Because I danced with Michael Kidd and Peter Gennaro, I had gone from show to show, but I didn’t have an anchor where I would do every commercial, every Broadway show. Anything that that choreographer did, I was part of the plan.
Industrial. Millken Show.
They used to do commercials. Well, Milliken was a fabric manufacturer and the commercials were like shows, lavishly staged.
Yes. They brought in all the choreographers. And you had to be in a Broadway Show. And we got the clothes and at the end of a Broadway run we got a bonus. And when they gave us the checks they used to say, “And here’s one for little Baayork Lee, and one for so and so”…and it was ohhh. money, money, money!
You are not the height of a typical Broadway dancer. That is even written into a Pulitzer Prize winning show. Your height. How did you manage that height issue? Was that a struggle?
Absolutely. I wanted to be Maria Tallchief (renowned ballerina). I wanted to be in the New York City Ballet. I had to throw away my point shoes when I found out I couldn’t be in the company. I was too short. I was competing with Tanaquil Le Clerq (renowned ballerina) and all of his (Balanchine’s) X- wives. (explosive laughter)
On A Chorus Line, initially, I was the assistant. And I would handle the tapes. And then we would go into the workshop with Joseph Papp and I was the assistant. And I would say, “He wants you to line up.” And everybody would line up. And I would say, “He wants you to put your resumes…” Then Michael realized that this wouldn’t work. So he became “The Voice.” So that was the first workshop. And then the second workshop, Michael called me and said, “I would like you to put your life in the show.” And I said “Who wants to know about a short, Asian girl who wanted to be a ballerina?” (someone from the audience answers) That’s exactly what Michael said. And from then on, I was no longer his assistant. I had a role in the show.
Didn’t you have a song that was cut from the show?
Yes. It was called “Confidence.” Back in the old days, Equity wanted to have at least one ethnic person in the show, maybe the orchestra also. So my competition in A Chorus Line was Richie because they could take one ethnic person. And he was African American. So Marvin Hamlisch wrote us a song called “Confidence.” I talked about Flower Drum Song and King and I and he talked about being in Hello Dolly with Pearl Bailey and we had to have confidence because we might not get the part. Only one ethnic person could. And then the song was cut. The show was 5 hours long. And we said, “Michael, we can’t cut the song because people need to know about these issues.” He said “I have bigger fish to fry. I need to put a Paul monologue in the show.”
Robert takes out one of the hats from the finale of A Chorus Line. And the original shoes.
It’s Thommie Walsh’s hat.
Baayork, I and Tommie wrote a book about A Chorus Line called On the Line, about the making of A Chorus Line. It’s on Amazon. When they first brought out that hat what did you think?
Well, we had our dance clothes on. And so that wasn’t special. And they said you’re going to wear the same thing, but in blue. And we were very uncomfortable. And the finale was going to be us working on the show, just us, then blackout working together. That’s the ending that Joseph Papp wanted. Michael Bennett had very different ideas. He wanted pizzazz, he wanted costumes, he wanted everything.
That’s the one moment you see the number of the show they’ve been auditioning for.
So when we saw the costumes we thought wow. I was in high heels, fishnets and the outfit was cut up to there.
Very sadly we lost Michael. And the person who’s been in charge and who’s carried the torch has been Baayork Lee who has directed the production in his place all these years. Is there a difference between Baayork Lee’s Chorus Line and Michael Bennett’s?
It’s always Michael Bennett’s Chorus Line. Opening Night downtown he came backstage and said, “It’s your show. You’re going to direct and choreograph this all over the world. But we were Off Broadway. And we didn’t know what this was. And he’s telling me all these things. Like you’re going around the world and you’ll do this and that. And we’re going, “Oh, yes, Michael. Oh yes.” And now forty-three years later I’m saying, Oh, yes, Michael. (applause) It’s Michael Bennett’s show. But A Chorus Line is about the people in the show. And every actor brings himself into the show. And that’s why we’ve evolved the show over the years because obviously we’ve gone to Chile and to Stockholm and Japan and Korea and the actors bring themselves to the rolls. And that’s what’s exciting about it.
Is it hard to direct the role of Connie Wong?
I just tell them me to watch me for five weeks. (laughter) She has to be feisty and high spirited and all those things.
I wanted to ask you about the Tony Award you won.
The National Asian Artist’s Project. I was thinking about forming a company for Asian artists for years and years. I was talking about it. Every time I did a show, we were doing King and I. And I asked Nina Zoie Lam, “Where are all these talented people going to go?” She said, They take their odds and ends jobs and wait for the next King and I or Miss Saigon.” And we did King and I again. Again, the questions came up. Where will all these people go? Steven, God Bless him he’s teaching tonight and couldn’t be here, said, “Let’s do it.” So finally Steven Eng, and Nina Zoie Lam and I founded the N.A.A.P. to give the talented Asian artists and Asians a platform to show their talents. And also to educate the young kids back in Chinatown where I grew up to go to their schools and give them the opportunity and give them a choice. They don’t have to go to Harvard. They can go to Broadway. (laughter, applause)
I’ve seen some of the shows. They don’t try to do Asian themed shows. They did Hello Dolly. They did Oklahoma. They did Carousel. And the amazing thing about it is that the nearly all Asian actors in it? Well, you’re not seeing Asian actors. You’re seeing Hello Dolly and Carousel.
They are talented, talented actors. And that’s the most important thing. (applause)
Of all the work Baayork has done, that is what she won her Tony for.
The evening closed with audience questions and photographs that Baayork took with friends. Indeed, no one was leaving the Bruno Walter Auditorium before they snatched the opportunity to congratulate and thank Baayork for her entertaining responses, love, enthusiasm and grace. It was a most memorable, uplifting evening. Below is a clip that Robert Viagas referred to as being a time capsule. It’s the rollicking number from Promises, Promises, “Turkey Lurky Time.”