What's up, guys?

Leslie Robbins here. Young Hollywood is on Broadway in New York City. I am standing in front of one of the longest running shows in Broadway history. It's got fame, it's got fortune, and all that jazz. Welcome to Chicago. Welcome to the Ambassador. This is this is pretty amazing. This is the space we dance in every night. I'm honored to be here. Velma cover, Roxy cover. Bianca Marroquín is Leslie. The Velma Kelly of Chicago on Broadway. That's right. And this is not your first go around because you've been Velma before, you've been Roxy forever. That's right. That's why when you say Velma, I'm like, that's right. I'm Velma right now. I'm not Roxy. Velma Kelly, currently. Yes. We're going to learn a little bit of Hot Honey Rag.

The only original choreography from the original production in '75. The original Chicago production. Bob Fosse. And he kept this. Yes, Bob Fosse. These steps actually come from the period. 1920s. Fosse inspired himself with the social dances of the time.

So, we're going to start with what?

A Charleston. Yes. Naturally. Everything is happening right now at the Ambassador Theatre. Moments away from showtime. We have the orchestra prepping. Warming up. We're not everyone's warming up all around the stage. Sir, walk me through what happens right before showtime. Okay. You heard sound check earlier. Everybody's prepping, all the props, everything that needs to be set.

And then you want to come backstage with me?

So, you're going to step left, touch, step, touch back. Mm, touch right, and back, and then just come to here. Careful, there's lots of little step right here. Step right here. Now, this is what I love, going behind the scenes at Broadway shows. There are ghosts of of actors and actresses past.

Well, imagine all the energy must be collected, right?

Yes. You guys are almost 30 years going. Yes. This production. Next year will be 30 years.

Isn't that amazing?

Exactly. And I this next year, 25. Yes. On and off, on and off. They keep calling. I keep saying yes. The next step is what we call the Shim Sham. Your hands are in, we we see these these hands all over in the show. Right now, they're down here. You're going to touch your heel, then you're going to touch your left heel, then you're going to touch your right, and then repeat right. You're going to have a little shimmy. So, right, left, right, and right. Left, right, left, and left. Right, left, right, and right. This show, you know, has been running for so long. The script, the music, the choreography, the lighting, just the story. it it, you know, it's so delicious. Every time I come back, it's that exciting.

I get so nervous and it's such an honor every single time. Okay, you're talking about the story, but I must say your story is incredible because you are the first Mexican to star on a Broadway stage. In history. At the time, I didn't know it. I was invited. This is like 2002. I did my Broadway debut. And then the newspapers and the news back home in Mexico started saying, "La primera mexicana en estelarizar un personaje en, uh, what?" So, I'm like, "Okay." So, I understood that it wasn't only about me, but it was and not only about my country, but all the Latinos, you know. So, it was just an honor to represent and to open new doors and to keep inspiring other Latinos that are walking in my same path.

Let's walk the path. Exactly. Now you're going to sweep the ceiling. And as you're doing it, you're going to step right, cross back, left, left, cross back, right, and hit a position, this position. You're going to go one, two, three, one, two, three, one. You're a natural. Thank you. Truly. A dancer. Yeah, you really are. You can't say that in front of like professional dancers. That is Roxy's dressing room. This is Velma's dressing room. So, two dressing rooms per landing. Wow. And then it go three, four, five. Wow. So, there's, you know, two dressing rooms per floor. And these these buildings are so old. There are no elevators.

Really?

No. Of course not. It's like you're pushing against the ceiling and you're pushing against the wall. That's the line. So, from there, you're going to switch to the other side and do a little flamenco hand. So, here. Ba. That's it. And then you're going to go back. After you do the first one, you're going to go heel, heel. Then you're going to go back this way, heel, heel. One, two, three, one, two, three, one. Right, and to the left. One, two, three, four. Switch. Two, three, four. Instead of being here, I want you to be straight leg and push this hip out. The other way. Other way. There you go. Yes. Uh-huh. And then the other way, and then go to the other side.

Huh?

Same thing. There you go. Yes. Uh-huh. Welcome to my little nook. As I told you, I just came back on Monday. Yeah. As as Velma, so these are from my husband. So gorgeous. These are from my producers and the whole office of Chicago. And this is where I transform into Velma in my makeup. These are all my shoes right behind you. This is a little couch where I take my naps and my rests between scenes or between shows, when we have double shows on Saturdays and Sundays. So, you know, this is my little sacred space. Charleston. Yeah. Okay. This is like an audition. Five, six. A five, six, seven, eight. Ya-pa, pa-pa-pa-pa-pa-pa-pa. Da. I'm going to teach you one more step. To add on. I'm adding on. He's adding on.

Okay. On these sweeps, I want you to think up, up. So, it's high. There you go. Yep. Lift this hand. There you go. Yeah, yeah, yeah. Now, watch what I do now. Okay. Drop the arms. Oh no. One, two, three. One, two, three. One, two, three. They're little triplets. Three of them. Right, left, left, right. Right, left. One, two. I I look a little. All you have to do is just think that you're going to slightly lead with this shoulder. I don't want you to turn. Okay. Just lead in. Down, up, up. Down, up, up. Down, up, up. Side, back, side. Front. Your process getting ready to be Velma. That is a demanding role. It is.

How do you get there?

Well, a lot of stretching, a lot of rolling. The tea bags rolling to protect our knees. Hips. And a lot of push-ups. A lot of sit-ups. And a lot of strengthening exercises. And a lot of vocalizing, because Velma does it all. You can't get away with not doing all the things. Like, I have to be completely stretched in every and warmed up in every way. There is one number she does with the chair. Velma takes the stand, where if I am not concentrated, I will kill myself. And I will end up with lots of bruises and So, I have to, oh, it's so quick. Yes. And the whole storytelling and the and the beat and the rhythm is so quick. Everything she's doing, she's stepping on it, she's jumping from it, she's carrying the chair, she's spinning the chair, she's spinning over the chair, kicking over the chair.

Watch them do it once from the top. Honored. Yes. And then and then you two are going to do it. Uh-huh.

Ready, ladies?

Five, six. A five, six, seven, eight. Ya-pa, pa-pa-pa-pa-pa-pa-pa. Hmm. Da-da-da-da-da-da-da. Da-da-da-da-da-da-da. Da-da-da-da-da-da-da-da. One, two, three. One, two, three. One. Pa-da-pa-da-pa-da-pa. Pa-da-pa-da-pa-da-pa. One, two, three. One, two, three. One, two, three. Da-da-da-da. Woo! Chicago has lasted so long.

What do you think it is about this show, the story, the characters, that keeps people coming back for more?

Whether it's a movie, the Broadway show, Yeah. It's just a story that everybody wants all the time. Well, two things. First of all, it's always relevant. Everything that's going on in the news. You will relate, people will connect. It's about killers being sensationalized by the news and becoming celebrities. We hear that all the time. And because this show has been running for so long, they invite different people to come into the show. Different celebrities from the film industry, from the TV industry, from the sports industry. And so, the people keep coming back to see Chicago with their favorite person. And the most amazing thing is that our captains, our creative teams, will tailor the choreography, the singing, all the activity to them, to their capacities.

And that's what Ann Reinking always always said that she wanted to do for all the celebrities that were coming into her show. She wanted them to look good. Think that this is like little windshield wipers. So, they're not flying too much. Ta-ta-ta. There you go. And they're always facing the front. Yes. Okay. So, five, six, seven, eight. Ya-pa, pa-pa-pa-pa-pa. Good. Pa-pa-pa-pa-pa. Hmm. Da-da-da-da-da-da-da. Da-da-da-da-da-da-da-da. One, two, three. Pa-da-pa-da-pa-da-pa. Pa-da-pa-da-pa-da-pa. And da-da-da-da-da-da-da-da-da-da-da-da-da. Fantastic. You did it. Amazing. Amazing. Throw you to the sharks and you just deliver. I got one little thing near the end of the number. I'm ready for you.

Yeah?

So, walk me through a day in the life of being a performer in Chicago. I try to sleep as much as I can. I drink water like crazy, because everything needs to be hydrated, not only my muscles, but my voice, my brain. We need water, water, water, water. I have to eat something that gives me energy, but doesn't give me acid reflux because that messes with your vocal chords. Around 1:00. So, I then I won't eat anything. Okay. I Everybody's got a different, you know, schedule. Always a workout, whatever it is, in my apartment or go down to the gym. Or if if I have time, I'll go take a ballet class.

Every day?

Just the barre. Not every day. Okay. Every other day, depending on how my energy is, because this is eight shows a week. And then when I get here, I turn on the my electric kettle and prep some tea and I start warming up my voice. And then I get to the floor, I start stretching, and then putting on my makeup. And then a half hour before the show, I'll prep my hair, because this time, I'm wearing a wig. I keep stretching between scenes, keep keep warm, keep warm, because Velma's numbers, no joke. And after the show, that's when I eat the most. Not supposed to. But I have to stay up to digest, because I can't go to sleep. But you have to unwind. So, it is I don't go to bed till like 1:00 in the morning or so.

And then it starts over. I try to sleep as much as I can, because that is your your best friend is sleep. That's it. For so everything can recover, all your muscles, everything that you're using. That's amazing. Yeah. We come down stage, you're going to do what we call, it's like a little laundry list. Four of these. Down, down, up, up. Repeat it. Down, down, up, up. Clack.

Coming coming together, right?

Now, you're going to pump. One, two, three, four, five, six, seven, eight. Look at her. Step away, shimmy. Come back again. Clack. Pump, two, three, four, five, six, seven, eight. Push, push, push, push. It's like a little Betty I always like Betty Boop. Mm. Yeah. Okay.

Ready?

No. Come on down. No.

Do you ever have a moment when you're on stage, you have a pinch me moment? Has that happened, does that still happen?

Always. Always. Always. Always, especially nowadays. Nowadays, I always have that little moment thinking of Ann Reinking, thinking of Chita Rivera, because of the words. In 50 years or so, it's going to change, you know. Everything changes. The only constant thing in life is change. But, oh, it's heaven nowadays. So, but my only constant thing in my life, actually, is Chicago. So, I'm very grateful that I I keep coming back and then it keeps me alive. And then I'm so lucky to do what I love for a living and to make people happy, because that's what I think that we do as actors on a stage. We make the audience vibrate in another frequency that heals. So, that's what we do. And but they heal us and we heal them.

You did that for me on stage just now. Mm. The cool thing about you is you are one of a select few women in the world to ever play both Roxy and Velma. Is that not It's crazy and it's such an honor. I still pinch myself on that one. There's a very short list of ladies that have done both. Um, you know, contractually, uh, Chita Rivera, Bebe Neuwirth, Ruthie Henshall. And then I'm the fourth. It's it's an honor. And I thank my body, I thank the universe, I thank my brain that I'm able to do it. And I thank the production for trusting me and for allowing me to do both. It's it's a it's such a gift. I'm so lucky. I am really very privileged. Um. Five, six. A five, six, seven, eight. Da-da-da-da-da-da-da.

Da-da-da-da-da-da-da. Da-da-da-da-da-da-da-da-da. Da-da-da-da-da-da-da-da-da. Push, push, push, push, push. Yes. Well done. Really, really well done. Oh my goodness. There's my notes for Velma for today. You're finishing this hop chorus further out. Watch what you do. Now you really travel out. First night was on it and yesterday I did the I did the old old version. I did the old version but I caught myself out. You're up on the breath. Start to clock. That's it. And you only have to go all the way. Just a quarter turn. Start to clock. I know I will. A-long, two, three, four. Da-da-da-da-da-da. So, you really finish on the note. One, two, three, four. Da-da-da-da-da. A-long. Exactly. After you're you're not doing crime.

Cicero, lips, one. Da-da-da-da. Two. The dirty bum. The dirty bum. They had it coming. They had it coming. You're wanting to go on the third one or the fourth one. Oh, fourth. Yes. The dirty bum. The dirty bum. They had it coming. They had it coming. Exactly. And and that's when you sing the second time. They had it coming. They had it coming. They had it coming. They had it coming. So, I sing Yes. on the second time you say it. Yes. We're going to now go and and prepare for our show. We're all on. I'm honored. Thank you. Now. Oh. No. We're so happy you're here. Now you're great. And you. That's what I do. Captain. That's what I do. Break a leg tonight. Thanks so much. Bye. Thanks. Time to prepare for the show.