you don’t know
what you’re doing?”
I had one song, “Nothing Can Be Done,” the jazz musician was [at the ballet workshop] with his wife of seven years, and that song made him jump up. I found a cover version I did of a Billie Holiday song [“Comes Love”] that also says, “nothing can be done” — but in a funny way. In the play, she’s saying, “Look, I forgive you, you’re screwing up, and obviously their relationship is a wreck.” But in the next song it’s a different approach, it’s like an aside, another character steps in and says, “Comes the measles you can quarantine the room…comes love nothing can be done.” You didn’t have the luxury in the short version to send in the clown, and now I’m thinking of this one man. If that had followed it, he would have had a good laugh. You’ve got a ballet audience, you’re gonna have a whole room full of people in different phases of relationships. This girl who got dumped by her boyfriend, she loved the “Hana” song because it’s a pep talk — “don’t be a victim, get back on track.” “Hana”‘s got a knack for getting people back on track because she knows they all matter. This girl who was leaving at the time, she loved that and she loved “Hejira” because that’s when the healing begins — it enabled her to see her way out of the hole that she was in. But she was the only one in the group who had that response. So everyone in the audience is going to be responding to different aspects because they’ll all be at different places in their life. At 75 minutes, the places I could go were too limited.