Just imagine the tech rehearsal alone for this sequence - just to set/choreograph the speed of the entrance of the model bedecked, FLOATING staircase, donut turntable; Kate - OMG, Kate Hepburn, herself, walking toward her models to meet the staircase but not actually moving forward! The donut revolve continuing it's steady, counter-clockwise spin while the models pivot and begin to step-in-time, in-reverse, down the staircase while appearing to be stationary in relationship to the audience while the models who are now upstage begin to ascend, and then descend the stairs . . . all in time to the music, with one step equalling one step down or up the stairs. THAT is why you hire DANCERS! The rotation of the mirrors (mylar?) on the curved upper wall of the upstage, built-in staircase (THAT specific effect will appear again about five years later in MUSIC AND THE MIRROR from A CHROUS LINE). The rotation of the VERY TALL Stage Right wall panels that open up to reveal the outer staircase in its upstage position, thus revealing the symmetrical entrances on different planes, but following mirrored arcs of movement. This is a BRILLIANT example of the beauty of collaboration, marrying concept, design, choreography, movement, costume design, architecture, lighting design, engineering, production and stage management, a highly skilled crew, glorious MUSIC and PERFORMANCE to achieve this EXQUISITELY staged number. I wish Kate had been directed to move naturally amongst her Chanel models, rather than walk awkwardly sideways, while looking backwards and in step to the music. But, honestly, who cares? It's Kate Hepburn. I don't know how they succeeded in having no railings on those staircases, and I sincerely hope no one was injured (I know and worked with some of these performers and stage management), but, the visual impact is SPECTACULAR!
I have watched this dozens of times. Remarkable on so many levels.
Just imagine the tech rehearsal alone for this sequence - just to set/choreograph the speed of the entrance of the model bedecked, FLOATING staircase, donut turntable; Kate - OMG, Kate Hepburn, herself, walking toward her models to meet the staircase but not actually moving forward! The donut revolve continuing it's steady, counter-clockwise spin while the models pivot and begin to step-in-time, in-reverse, down the staircase while appearing to be stationary in relationship to the audience while the models who are now upstage begin to ascend, and then descend the stairs . . . all in time to the music, with one step equalling one step down or up the stairs. THAT is why you hire DANCERS! The rotation of the mirrors (mylar?) on the curved upper wall of the upstage, built-in staircase (THAT specific effect will appear again about five years later in MUSIC AND THE MIRROR from A CHROUS LINE). The rotation of the VERY TALL Stage Right wall panels that open up to reveal the outer staircase in its upstage position, thus revealing the symmetrical entrances on different planes, but following mirrored arcs of movement. This is a BRILLIANT example of the beauty of collaboration, marrying concept, design, choreography, movement, costume design, architecture, lighting design, engineering, production and stage management, a highly skilled crew, glorious MUSIC and PERFORMANCE to achieve this EXQUISITELY staged number.
I wish Kate had been directed to move naturally amongst her Chanel models, rather than walk awkwardly sideways, while looking backwards and in step to the music. But, honestly, who cares? It's Kate Hepburn. I don't know how they succeeded in having no railings on those staircases, and I sincerely hope no one was injured (I know and worked with some of these performers and stage management), but, the visual impact is SPECTACULAR!