We are officially open
AT THE GYPSY Robe Ceremony (from left): The author, Darren Lee, George Takei and Telly Leung Telly Leung’s Facebook
NEW YORK—Previews have ended … the crazy daytime rehearsals with nighttime performances are done … the insanity of learning new lyrics (and at times, putting old ones back in) is over … and no more changes are being put into the show. We are now open.
The opening night of a Broadway show is incredibly special, not only because it signals the end of previews and the start of regular performances, but also because we as a company get to share this exciting day with people that we love. Friends and family come from far and wide, joining us to share in the festivities.
“Allegiance’s” opening night began at the theater’s alleyway at 4:10 p.m. with a special mochi and manju presentation by Scott and Greg Watanabe (no relation), both of whom are from Los Angeles. They presented the whole company with delicious traditional Japanese sweets from Little Tokyo, prepared by the descendants of the Hashimotos, an entrepreneurial couple from Japan who were themselves interned during World War II. Everyone was able to partake of a little sweet thing, be it pastry or sticky sweet mochi.
Next on the schedule was another beloved Broadway tradition: the Gypsy Robe Ceremony! This tradition began in the 1950s when a chorus member of “Gentlemen Prefer Blondes” sent a dressing gown to a friend on the opening night of “Call Me Madam,” saying that all the Ziegfeld girls had worn it and it would bless their show.
“Call Me Madam” became a runaway hit. For the next musical to open, “Guys and Dolls,” a cabbage rose from one of Ethel Merman’s “Madam” costumes was added to the robe, and then was passed on. And thus, a Broadway ritual was born. When the robe is chockfull of drawings, artifacts, patches, and whatever else, that particular robe is retired and a new one is begun. The robe only goes to members of the chorus.
Gypsy Robe Ceremony
At our ceremony, everyone from the cast was assembled on stage in a circle, along with the gypsy robe recipient of “On Your Feet” (the last musical to open right before ours) Nina Lafarga, certain board members of Actors Equity (the union that governs the actors and stage managers on Broadway and elsewhere in the United States), and previous recipients of the gypsy robe from other shows. From ours, those past honorees included Scott Wise (he got his during his run in “Carrie”), Aaron J. Albano (in “Newsies”) and Darren Lee (in “Pacific Overtures”).
Finally, Nina read aloud the name of the lucky recipient of the “Allegiance” gypsy robe: Darren Lee! Nina then transferred the robe to Darren, and adhering to tradition, ran three times counterclockwise as every member of the cast touched the robe and visited each dressing room.
The show began earlier than normal: 6:30 p.m., but nothing else was different, until our curtain call. At the very end, after the full company took a few steps backwards, the creative team came up on stage to take their bows. Jay Kuo, Lorenzo Thione, Marc Acito, Stafford Arima, Lynne Shankel (the only one not making her Broadway debut; that distinction goes to the show “Cry Baby”), and Andrew Palermo stepped front and center, and took a well-deserved curtain call of their own, to the cheers of the entire audience and the company of actors behind them.
Right after the performance, we scrambled to our dressing rooms to get ready for our opening night party at Bryant Park Grill. My stylist George Brescia and makeup artist Yuko Takahashi were ready and waiting. A glass of Veuve Cliquot (courtesy of my floor mate Katie Rose Clarke) was also on my dressing table, chilled and delicious. Once makeup and hair were taken care of and my Shoshanna dress donned, I was off to the party where my family was already waiting.
In attendance were my mother Ligaya, husband Rob Chien, daughter Nicole Chien, sister LuAnne Salonga, and friends Victor Lirio, Bryce Goodwin, Liz Casasola, Cynthia Casasola, Tin Samson, Marites Carabuena and Tellyrose Guiyab.
Many more friends and family of the cast and crew filled Bryant Park Café, plus a press line that greeted the cast and creatives. We did interviews, posed for photos, and once inside the party proper, shook hands with the many attendees, producers and investors that contributed to our show.
The after-party that followed on Hornblower Hybrid (a yacht that was moored at South Street Seaport, which then took us on a brief cruise around the Statue of Liberty) was a great way to end the night. I brought along Rob, Victor, Bryce, Liz and Cynthia aboard with me, and the rest of the company brought their spouses, significant others, and friends, too. I wore my trusty pair of hot-pink sneakers, knowing that I would be on my feet all night.
We danced … the DJ on board played lots of music from the 1970s to today, and everyone just let loose on the dance floor. Many of the girls that had worn their high heels were now barefoot. Neckties and blazers came off. And we all danced!
Once the boat was back at the seaport, we headed home, still high on this wonderful night.
Now, the work must continue. The show is now in the hands of the cast, stage management, crew and craftsmen who are tasked to put up “Allegiance” on a daily basis. We all pray that we enjoy a long and healthy run.
