How I got Footloose.

Footloose is my first Broadway show. I had moved from Florida to New York City right out of high school, worked straight through for four years, and graduated in May 1997 from NYU's Tisch School of the Arts with a goad liberal arts and conservatory education. I went to work immediately in Disney's Hercules Summer Spectacular, then did some free work, but at 22 I needed a steady job badly. Then, after seeing me work on my developpe a la seconde for yet another Cats callback, Serena [Softer] suggested I audition for Footloose. (I'd missed the workshop audition because I was in Hercules.) Serena was already a cast member and she said she'd mention me to A.C. Ciulla, the show's hot young choreographer.

A.C. approached me when I was working behind the snack bar at Broadway Dance Center. (I have been really blessed my whole life with supportive loved ones. Frank Hatchett was a surrogate papa to me when I moved here, and he and the Ellners, the studio owners, really looked out for me.) I had taken a couple of classes with A.C., and he recognized me there. I was still doing the thirtieth-anniversary production of Hair, so I invited him. He laughed and said he would love for me to audition. The very next day my agent called to arrange it.

AUDITION

When I walked into the room there was A.C. and, behind the same table, Walter Bobbie, who had directed Chicago. I had workshopped Ann Reinking's choreography for Chicago way before it went to play City Center's Encores! series. I had gone to the Musical Theatre Project of Tampa (now called Broadway Theatre Project) for four summers, first as a student and then as an assistant in the dorms and a teacher of one class. It changed my life; it really did. I had to learn to sing in order to get in at first, and then I fell in lave with musical theater. Annie's an inspiring teacher. Walter had seen us working on the Chicago choreography, so now he remembered me.

Our long-haired musical director, Doug Katsaros, was Berger in the Broadway revival of Hair, so he had me show off with a bit of the floaty soprano line from the Hare Krishna section of the `be-in.' At the piano I gave my thirty-two bars of "Hit Me with a Hot Note" that showed off my entire range in no time with high Flipper tones at the end. Since the Broadway show is all new with some of the great songs from the film added, I didn't realize that sound was also perfect for the Rusty character's song, "Let's Hear it for the Boy," with the high "my bay-by" at the end.

I read and they said thanks and that was it. I thought it had gone really well, but I didn't hear from them for a month. Then my agent called me to go pick up sides and music for a callback and I set about working up the material. I think it's imperative to memorize so you are freed up to act and focus on the text.

CALLBACK

My line readings and timing got laughs; I sang for them and it was really fun. Ann Reinking always reminds her students that "the joy is in the work." It's really true. At the end, Walter Bobbie, who makes you feel so human, not like a product, said thank you. Then A.C. said, "Lori, I know you're not warmed up, but would you just grab your leg for me before you go?" So in pink satin overalls and platform shoes, I grand battement my right leg, catch it with my left hand behind my shoulder, and hold it smiling, because I know he is giving me a chance to set myself apart from everyone else he sees that day.

It's funny--you go into so many shows trying to be what they want, but this show encompasses everything I do well right now. It makes me feel that there is a perfect show for everyone; it's just having the perseverance to stick it out. I knew this was the best possible audition I could have had.

ANOTHER CALLBACK

At the third audition we finally got to dance, and I was in great company. A.C. was supportive of all of us, but I felt I had an edge because was trained in theater and voice. So many of the divas who do A.C.'s choreography don't sing; they get hired on their fierce dancing alone. Only two girls were needed for the ensemble. When my agent called with the good news that I had the job and the chance to understudy Rusty, I found out that the other girl was Kristen Gorski, who, like me, had been a Miss DEA national titleholder.

I GOT IT!

So, two days after Hair closed, I was rehearsing Footloose. A week later we were onstage with a live orchestra; I was so excited I was crying. Jim Rado (one of Hair's lyricists) was in the front row, and it was awesome to have him there rooting for me as I passed from his show to another. I did a double coupe pirouette to a straddle right in front of him, and he said, "Wow," and I said, "Hi," and kept dancing. We did publicity performances and a sampler at the New York City Dance Alliance nationals because A.C. teaches and judges for them. We've played the Kennedy Center for four weeks, and now we're at the Richard Rodgers Theatre, the first major musical on Broadway this fall.

FOOTLOOSE ON BROADWAY

I am living my dream, and I am so thankful. I'm honored by the company I'm with; we push one another toward excellence. The tone is set by the director and choreographer, who respect the performers' feelings and concerns.

For now I'm finished with substitute teaching, judging competitions, dog-walking, and house-sitting--and I've made it the whole way without waiting tables. My mom gave up a lot so that I could dance, but she never once insisted I choose a "real job." Because of that I have learned to honor my specific talents as legitimate and have found a way to use them to make my living.

Lori Holmes can also be seen as the model in blue on the Giordano Basic Jazz Dance poster.