A Chorus Line No. 38 - Mary Ann O'Reilly

Lauryn Johnson
Jul 20
3 min read

Updated: Jul 31

"Baayork had informed me earlier that I would be needed to fill in Ifor Crissy Wilczak by understudying the parts of Val Clark and Judy Turner. The job also included the portrayal of Vick in the opening of the show.

"[Baayork said], 'At first Michael thought I was crazy to recommend you. He said, 'She just had a baby. How could she possibly dance now?' But I told him how great you looked and what great shape you were in. At the party, he saw for himself and gave me the go ahead."

"My heart pounded heavily at the thought of doing a Michael Bennett show. I'd always dreamed of working for Michael ever since Andy [Mary Ann's husband] performed in Promises, Promises. Although I was doing my best to act aloof, Baayork could read me well and picked up on my nervous excitement. 'Stop worrying, Mama. You'll be great. I can't wait to see the look on everyone's face when they find out you're the new girl.'

"'Didn't you tell anyone?'

"'No. Not yet. I wanted to surprise them. I'm sure they'll all be expecting some bitch that they can't stand. They'll welcome you with open arms.'

"After fighting gusts of bone chilling wind in Shubert Alley, we returned to the theater. It was close to "half-hour call," giving me just enough time to pump out my milk before greeting the company. This time I'd come prepared and poured the mother's milk into a baby bottle and stored it in the stagehand's refrigerator for safe keeping. This became an ongoing practice. They guarded it; it was sacred. Just as Baayork had predicted, the company was relieved to see that I was the new replacement.

"On Saturday night, October 26th, I did my first performance of A Chorus Line. After careful preparation, I emerged from the dressing room transformed from the little housewife and mother into a redheaded bombshell. My costume consisted of dark-brown leotards, matching tights, and high heeled brown leather boots. The startling effect of my stage makeup and false eyelashes were enhanced by my strawberry-blonde lion mane hairstyle. Due to an abundant milk supply, my bust measurement was stretching the tape at 40 inches.

"Before each performance, everyone would meet in the basement area next to the orchestra pit, to warm up their bodies and voices and unify as a company. I made my entrance and self-consciously began limbering up my body. Soon, I became the center of attention. Exaggerated cat calls and wolf whistles rang through the underbelly of the Shubert Theater. I was then applauded by my colleagues. It was an acknowledgment for my courageousness at diving into the show so quickly [after having a baby].

"As I began my ascent to the stage level for my first performance, I was greeted by Michael Bennett and Joe Papp. They were obviously pleased with my appearance. Michael kissed my cheek and said,

'Merde!' accompanied by a little kick in the ass (a symbolic show business gesture for Good Luck). 'You look terrific. Have a good one.' His dark eyes met mine briefly as he squeezed my hands. Mr. Papp nodded hello to my breasts.

"That evening on stage, I developed a new character for the opening number, 'the tease.' My portrayal of Vicki was so effective, it almost threw the concentration of the rest of the cast. They weren't expecting my bouncy, flirtatious interpretation of the small part. I'd managed to establish my character in one line as I flirted out the line of dialogue with a bubbling energy."

--What We Did For Love: A Dancer's Memoir of A Chorus Line by Mary Ann O'Reilly