She toured it as a special, working out the kinks, before upgrading her sets, band, costumes—all of it—for the off-Broadway show.
During tech rehearsals in New York, she spends over an hour patiently delivering the same handful of lines so different options can be tweaked for lighting, blocking, sound, all of it. Barefoot in sequined pants and a black top, she does a series of calisthenics and warrior poses familiar to any mom who’s not sure when her back started to feel like that, firing off requests and suggestions and jokes all the while.
It’s a lot happening all at the same time, a whole galaxy of planets spinning around Bloom, the sun: balancing the show and her family, trying to do everything she can to support her friends and colleagues, making sure there’s a trash can in the dressing room. She does it all standing in front of the show’s backdrop, which shouts, “Rachel Bloom” in oversized neon, as if there’s any forgetting who’s at the center of all of this.
Bloom is so open that it’s easy to believe that she’s working things through in real time. When she sings a lullaby that ends with her sweetly crooning “this is hell” while gazing at an imaginary baby in an imaginary crib, you might feel guilty for laughing. This woman seems like an open wound, but she isn’t.
“Anything I say onstage has been processed. I think I have a good sense of not only what trauma has been processed but also what can I stand behind, should someone be like, ‘I have an issue with the story,’” she said. “Basically anything I share, it’s not the first time I’m sharing it with someone. Could I have done this show in 2020? No. I couldn’t look at a picture of Adam for the first couple of months without crying. I couldn’t physically deal with it.
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Source: THR - 🏆 411. / 53 Read more »