FORUM was my first official Broadway show as Dance Arranger, working with the supremely talented Rob Marshall. We had been given the very strict task of avoiding anything remotely resembling the original Jerome Robbins staging, especially in the, which was actually quite freeing. In fact, the original dance music struck me as rather incomplete: famously, the original 1962 choreographer, Jack Cole, never quite completed the task, and Hal Schaefer's dance music reflected that. Jerome Robbins came to DC as an uncredited show doctor (bringing the legendary dance arranger Betty Wahlberg), but it was a poorly-kept secret.

Set and Costume Designer Tony Walton (who did both the original AND the revival) told a fabulous story of meeting Jack Cole at a bar, who would then impart his vision for the show. A nervous Tony sat next to Jack, who said only four words: "long blue pubic hair". That was it. Tony left the meeting, befuddled. But he did design Vibrata's costume to sport a long blue fur merkin.

(Side note: Tony had the most beautiful apartment I've ever seen - it had massively high ceilings and gorgeous woodwork throughout, and of course was designed perfectly.)

I first laid eyes on Stephen Sondheim during the meet and greet. I walked up to him and told him how honored I was to work with him and to be given the opportunity to write new dance music. "Do whatever you want", he said. I took that as a vote of confidence. At the cast recording, I was standing in the back of the control booth when the record producer turned to Sondheim and asked him "So… what do you want to do about these courtesan dances? Should we record them?". "I rather like them," replied the master. "May I quote you on that?", I asked. He took a brief, thoughtful pause, and said, decisively, "Yes."

FWIW, the courtesan dances, of which I'm particularly proud, were inspired by a book of piano études by Alexander Tcherepnin, which had been recommended to me by the famously acerbic critic and classical music enthusiast John Simon. (That's a story for another time).

This was also my first interaction with the brilliant orchestrator Jonathan Tunick. One day in rehearsal, Nathan Lane did a hilarious new comedy bit during "Bring Me My Bride" that involved throwing a giant handful of confetti in the face of Miles Glorioso, being played by Chris Groenendaal. Rob Marshall loved it, and asked to have a cymbal crash on that beat to accent the gesture. I let Jonathan know, and he was perturbed. "It will cover the lyric!" he said. "Yes, but it's the third time we've heard the chorus, so we know what the lyric is", I countered. "Drums are like cocaine to choreographers", he muttered. Nonetheless, he added the cymbal crash on the requested beat. Cut to three weeks later. We're in tech, and for a variety of reasons, not least the fact that the stage would be littered with confetti and there was no way to clean it up, the bit was cut. I ran to the payphone in the basement of the St. James Theatre and excitedly called Jonathan to let him know that he could take it out. "Oh no, I think I'll keep it", he replied, "I rather like it". This is how theater gets made, kids.

BTW, these dance arrangements are, unfortunately, not available for license, but I know of quite a few productions that have transcribed them, so if you're looking for them, do a little asking around…

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