Meet IDA GILLIAMS, currently appearing as a Rockette in The Christmas Spectacular at the world famous Radio City Music Hall in New York City. Ida is a member of Actor's Equity (EQUITY), Screen Actor's Guild (SAG), The American Federation of Television & Radio Artists (AFTRA) and the American Guild of Variety Artists (AGVA).

Finis: Ida, you're one of the lucky ones, aren't you? You've gone from show to show on Broadway, and now for the first time, you're between shows, and dancing as a Rockette at Radio City. What's it like?

Ida: It's hectic! There are two groups of Rockettes, and we split 30 shows a week, 6 days a week. I'm doing 15 to 16 shows a week, which is twice as many as a Broadway show. The run is only a month and a half, so it's OK.

Finis: Besides the famous kicks -- how many do you do each show -- and what else do you do in the show?

Ida: There are at least 30 kicks a show, and there are usually 3 shows a day, so that's about 90 kicks a day, 6 days a week. We appear in 6 numbers, which means 6 costume changes 3 times a day, or 18 changes a day. It's busy! Since the stage is made up of platforms that move up and down and sideways, the floor is very hard, which can tire your legs and body a lot faster than normal.

Finis: We've seen the show, and the audiences just love it, so that must make it a little easier! What Broadway shows have you done?

Ida: Going backwards, I just closed with STEEL PIER. Before that, CATS, CRAZY FOR YOU, ME AND MY GIRL, 42ND STREET, CAN CAN, and ONE NIGHT STAND.

Finis: Which was your favorite show, and why?

Ida: Oh gosh! It's a toss-up between CRAZY FOR YOU and CATS. CRAZY FOR YOU was a fun show to do. It was a light-hearted musical, and I enjoyed the people I worked with and I got to understudy and went on several times for one of the Principals. I have very fond memories, as I made wonderful friendships and met someone I care very much about.

Finis: How long did you do the show?

Ida: 3-1/2 years.

Finis: Wow. Is that average for a show?

Ida: The show ran 5 years, and I left it to do CATS on Broadway, where I performed the role of Cassandra and understudied both Grizabella, who sings Memory, and Bombalurina. This was a grueling job, because Cassandra dances a great portion of the show (which I did for almost 2 years). I got out of there without any injuries, for which I am so grateful.

Finis: That's right! It seems everyone in that show has been in a constant state of pain or injury. Why's that?

Ida: CATS is a very strenuous show -- it's very demanding physically and vocally, so it takes a toll on your body. Also, it's done on a raked, or slanted stage, and it changes your whole center of balance. The stage is circular, and part of the audience is on the sides of the stage, so it's like performing in the round. When you do turns, you're not level, so it puts abnormal pressure on certain parts of your body. Also, a lot of the show is done in dim lighting, so it can be difficult to see. And, 3/4 of the show is choreographed, but 1/4 of it isn't, which means that every show people are doing somewhat different performances.

Finis: Why is the show choreographed that way? I never heard this before!

Ida: Leaving 1/4 of the show open to each performer gives it an edge. It makes each performer think because you need to create. It gives you an edge and is a way of keeping the show from getting stale. You know, when you do the same show 8 times a week, week after week, it's very easy to get stale.

Finis: That's really interesting. I'll bet most audiences never knew this!

Ida: For me it was very satisfying to meet those demands each performance. The only thing I can compare it to is doing Cassie in A CHORUS LINE, which I did at a Regional Theater.

Finis: How did you get your first Broadway show?

Ida: I went to the audition, since I already had an Equity Card, which I got when I was younger.

Finis: When did you first start performing? How did you get started?

Ida: I started my professional career when I was about 10. My father and stepmother had a song and dance revue called 'Arthur & Guinevere' which they began in the Night Club circuit, and when that dried out, they worked Luxury Liners, or Cruise Ships. It happened that they couldn't find anyone to take care of me while they were working the ship, so out of necessity they had to bring me on board, and the Cruise Line said 'no free loaders,' so I had to join the act and work with my parents in order to stay on board the ship.

Finis: Sounds like a movie!

Ida: On a Thursday night, they flew me from New York to the ship, which was in Jamaica, and by Sunday night I was 'Lancelet' (not 'Lancelot') singing and dancing in their act, without any previous training.

Finis: You're kidding, now this really is a movie!

Ida: It's true. I had never had a dance class. Or a voice lesson. I never even wanted to perform! But I used to love watching Wonderama, a TV show that had all these kids dancing on platforms. I'd get up on the table and dance with them. For fun. I guess I always had some natural talent, or else I wouldn't have survived.

Finis: What a story!

Ida: My father was an ex-Harvest Moon Ballroom Champion for the Tango. And he sang. My stepmother was a Rockette when she was 18.

Finis: But you never dreamt of following in their footsteps?

Ida: Right. It was just something I fell into, because that's how they made their living and the only way they could keep me with them was for me to dance and sing in their act.

Finis: This is bizarre. Most performers are there because they wanted it so badly, and you were, so to speak, a 'victim' of circumstances.

Ida: When I was 13, my parents divorced, so I took over my stepmother's role in the act. We became a Father/Daughter act, called The Gilliams Revue. And when I was 17, I got on Broadway.

Finis: And there you've been, ever since, in spite of yourself. So I gather you've learned to like all of this?

Ida: I've learned to love it. I can't imagine doing anything else. There were a couple of times  -- when I didn't have a job, when I went through a divorce (I married young) where I questioned whether I had made the right career choice.

Finis: But obviously, you stuck it out and went from one show to the other.

Ida: Well, you know, the business is so insecure. Whenever I'd get a show, I was never anxious to leave, because I knew I had a paycheck coming in, and I could save money, invest it, and sort of have a normal life, like everyone else. I'd have a daily regimen of going to work, and that's always meant something to me. You know, everyone's view of the business is different. I've seen people come into a show, stay for only a brief while, then leave for another show. But I like the relative security, so I stay in each show for as long as I can.

Finis: Which may account for the fact that you always seem relatively calm and composed.

Ida: Well, you know I've never had stars in my eyes, as some people do. They want to be stars. I just want to make a living and have a life outside the theater. I enjoy what I do, being in the chorus. So, I've never had to worry about competing to get myself to the next level. All I have to do is go to work the next day.

Finis: What happens after Radio City ends?

Ida: I need to keep myself in shape for the next job. It's constant upkeep. And that in itself is enough to work on. It means taking dance class several times a week (usually with Finis at The Broadway Dance Center) and vocalizing by myself for about an hour and a half or two perhaps 4 or 5 times a week.

Finis: Don't you use a vocal coach?

Ida: I've recently gone back, because the show (Steel Pier) had closed. When you're in a show (especially one like CATS) it's very strenuous on your voice. Now that I'm not working in a show, I don't sing every night, so I feel I have to go back to my voice teacher to learn new material in order to challenge myself. You know the old saying, 'if you don't use it, you lose it.'

Finis: How about any auditions?

Ida: I've been auditioning. I just got cut at two auditions. Ha, ha, you're always dealing with rejection.

Finis: How do you handle rejection?

Ida: I just keep going.  I always work as hard as I can, and  I always try to put my best foot forward. I know that what I put out there is quality work. When you audition for a show, there are many elements involved: How many people do they need? Do they need tall women? Short? Ethnic? Blondes? Brunettes? It's also a personality thing. Do they like you? Sometimes I've gotten a job because I fit the costume. You've got to realize there are so many talented people out there. When someone leaves a show, the producers aren't going to make a whole new set of costumes. They're going to find someone who fits the costumes!

Finis: Looking back at all your experience, what do you have to say?

Ida: I'm definitely very happy with what I'm doing for a living. I would say I'm blessed in that I've been able to work steadily in long-running shows. It's a very tough business. Show business is all what you want of it. You can reach for the stars, and if opportunity and your hard work meet, you can get to the top. But it doesn't always work. There are so many people who want to do this business, so you have to feel very fortunate if you can make a living in it. It's not a glamorous profession -- it's a lot of hard work! But the benefits are that you interact with a new audience each performance, you get applause, you get approval from the audience, so you know you've done a good job. Performing live is instant gratification for the work you've done.

Finis: Thanks so much, Ida, and we look forward to seeing you in your next Broadway show!