Chapter 27: Finale!

“WHEN PAUL AND I worked together years ago, I was trying to show people I could still perform. But he had to do all the lifting, carrying, throwing, and balancing in the act. He made me look great,” Tara had said in our first coaching session after the semi-final. “What I want to know is if you can become a mannequin, Sydnie. The concept for this next piece is that Paul will juggle mannequins, including you. But you can’t let on that you have any flexibility at all until he’s discarded all the other mannequins. He will juggle you and them before you reveal that you aren’t one of the dolls.”

“Oh, God! I love the idea! Can you do that, Paul? I mean juggle people?” Sydnie asked.

“I think so. You’re really light as a feather.”

“I know that I weighed thirty pounds more than you do when Paul was throwing me around,” Tara said. “But we’ll need to figure out how much he can endure before he has to stop juggling and start performing acrobatics.”

“I assume you have music in mind for this?” Nicole asked.

“We’ll want to use live music made just for this act,” Tara said. “Like you did when you were performing, Nicole. Percussion, vocal, and whatever else we think we need. The rudiments of the act will need to be plotted out before we bring in the musicians. To some extent, they’ll be able to improv a little if anything goes wrong and shifts in any way.”

“I like that. Now, you should all know that I was offered a position as coach for the revue,” Nicole said. “I have declined. I have a business and it doesn’t run itself. Once your act is perfected and you start performing in the revue, you’ll have little need for a coach. Tara will be your director. Whenever you feel you need some work or want a new element, you can come here to the gym and I’ll work with you.”

“Gosh, Nicole. You’ve been a great coach. I’m sad you won’t continue working with us,” I said. Our agent had called us that morning to tell us she was in negotiations for our contract. Regardless of the outcome of the finale, we would be part of the New Trop Revue.

“Well, for good or ill, you aren’t rid of Stef and me so easily,” Jon said. “You’ve really integrated the two of us into the routines and we’ve passed the dancing audition, so when you sign your contract, we’ll be joining the chorus when we aren’t supporting you.”

“That’s wonderful,” Sydnie said, laying a friendly kiss on each of our spotters.

“No offense, but you know we’re kind of more into each other than ... um ... girls,” Stef said.

“Yeah, well, I’m married to a girl. I get it,” Sydnie laughed.

“Okay. Let’s see what you can do. I’d suggest working on thick mats for a while before moving to the hardwood,” Tara said.

We worked our buns off. I would be juggling in this act, but I’d be tossing mannequins around and Sydnie would be one of them. Our first effort was just to get Sydnie to stay stiff as I threw her around and balanced her. Then I practiced just juggling the mannequins. They weren’t as heavy as Sydnie, but weighed more for their size than I expected. We received a shipment of the dummies that were about the same size as Sydnie. I realized they were child mannequins!

We had four weeks to prepare our new act. That included rehearsals nearly every day at the theatre, while scene designers and technicians and musicians worked on every aspect of our performance. Of course, our rehearsals in the theatre didn’t last all day. There were a dozen acts to rehearse.

They were splitting things up a little. The show would begin with a master of ceremonies introducing the show and the four judges to an unreasonable amount of cheering from the audience. I think they must have big signs that flash “Cheer Now!” to everyone when they want a lot of noise. Then the MC would give a run-down of the acts and each performer would come out to do a little something. We were interviewed by the script-writers who turned our conversations into an intro for our act.

Of course, the time we had on stage was not nearly the rehearsal time we needed. Either before or after our call time on stage, we were back at the gym working with our team to make everything perfect.

We were working six days a week on the new program.

Tara’s and my date time amounted to a little kiss when we saw each other at the theatre and Sunday brunch. Usually, we managed a walk or a movie. Once we went to a play, but that month we steered clear of the big shows in Vegas. We had a big show of our own to deal with.

And finally, the grand finale arrived. We took our places for the introductory run, and were the first to make an entrance.

“In 2028, gymnast Paul Bradley was disqualified from the Olympics after doing a hair-raising routine on the floor,” the MC announced. “He was disqualified because the routine was too dangerous for the Olympics. Tonight, doing that same routine, is three-time national champion, Olympics qualifier and silver medalist, and European Challenge champion in floor exercises, we introduce to you Paulllll Bradley!”

That was my cue. I bounced down the tumbling mat with a double forward with a half twist, into a single back flip, and bouncing high to do my two-and-a-half with a one-and-a-half out to land on my hands just beyond the springboard. The board wasn’t for me. It was for Sydnie. I stayed solid on my hands as the MC announced my partner.

“Performing with Paul this evening is three-time national women’s acrobatic group champion, and two-times world champion, Sydnie Cragg!”

By that time, Sydnie was already into her line down the track. She hit the springboard hard and went high into the air with a single layback, to land on her feet, on my feet in the air. There was a lot of applause and she jumped from my feet to the track and tumbled down it. I sprang from my hands to the track and did a series of back flips until I reached the end and jumped into the wings.

Our spotters and a couple of other techs scrambled to remove our equipment and reset the stage for the intro of the next act.

“Wrists okay?” Sydnie asked as I removed the wraps I used when I did that routine. There was no sense spraining or breaking them if I could protect against it.

“Fine. I hardly felt it. I kept wondering when you were going to land and then you were off and going down the track ahead of me!”

“I know you’re stronger now than when we started working together, but you’ve always been dependable. Are you good for the big routine?”

“Yes, Mommy. We’ve got more than an hour to rest before we do our new routine. Are you ready for it?” I asked.

“I’m stoked. I just hope I can remain stiff until the reveal.”

“You’re fantastic. The mannequins are heavy enough that it makes switching to you less stressful. If I was going from something that weighed ten pounds to you, there might be more shock to it.”

We found a quiet spot in the ready room and Sydnie curled up like a cat on my chest and went to sleep. I tried not to snore.

And there we were, at the beginning of the second act, while the crew had plenty of time to set the stage for us during intermission. It was amazing what they could do with projections behind us. They made the entire stage look like a warehouse. Boxes were piled on one side—all of which would support our weight, so we could jump on them and climb them. On the other side were a dozen mannequins, three of which were Sydnie, Steffan, and Jon. All the mannequins were dressed in variations of gymnastic uniforms and dance dresses. Their faces were all made up like dolls.

The curtain went up and I entered as our musical accompanists joined in. I was in coveralls and was pushing a broom around the floor, occasionally pausing to execute a few dance steps with my broom as daydreams filled my head.

Then the broom hit a mannequin and it started to fall. I dropped the broom and caught the mannequin in my arms to take it dancing. Of course, the more active my dance became, the more mannequins got involved. I was dancing and tossing the plastic dolls, keeping them in the air and upright. At that time, Stef and Jon became involved, grabbing mannequins and tossing them to me. I did several moves, including backflips, climbing the boxes to catch a mannequin that went high in the air, and tossing mannequins into spins and loops—catching them and balancing them on my hands.

I don’t think anyone caught on when Sydnie was tossed up onto my hands. She just stayed stiff and erect like the other mannequins as I did a few throws and flips. But it was only a minute before Stef and Jon had the other mannequins organized in their rows and stripped me of my coveralls. I was wearing tight pants and was shirtless, so there were a few appreciative gasps.

Then I threw Sydnie especially high and she flipped out of her stiff mannequin pose and landed on my hands. I held her there as we did a couple of poses to let the audience know my accomplice was real and not a doll. Then we cut loose with the real acrobatic tricks, throwing her to the top level of the boxes and then catching her as she did a double pike position salto from the boxes to my hands again. Stef and Jon moved to put two springboards in position and Sydnie and I did a couple of the passes we’d done on the trampolines, bouncing from one springboard to the other and landing in the middle with her feet on my shoulders.

She posed there atop me and moved to a one-hand stand on my head. Stef and Jon moved to where they could catch us, which was an indication that we were about to do something extraordinary. With Sydnie balanced on my head, I mounted the stack of boxes. The auditorium went silent except for a weird bit of vocalese from our musicians, building to a dramatic peak. Then we jumped. We hit our springboards and did a salto out. I caught Sydnie in my arms as the audience roared to life. We stepped forward to take our bows and to acknowledge our assistants. It was a standing ovation and when I set Sydnie down to take her bow, it was the first time her feet had touched the floor.

“Sydnie and Paul, ladies and gentlemen,” the MC shouted over the tumult. That just got a bigger round of applause.

“You just keep upping the level,” Ariel said. “I have never seen anything like this! I can’t wait to buy a ticket for the revue when it opens. I will be bouncing in my seat through your entire performance.”

“Yes! I would definitely make a trip to Las Vegas just to see Sydnie and Paul,” Donna said. “Congratulations on a superb performance.”

“What I want to know is if we have enough insurance on these two,” Sam said. “Not only because they are risking everything with their performances, but because we will be out millions in revenue if anything happens to them.”

“This is what it is all about,” Lee said. “I could create an entire revue around you two. In fact, I might. The setting, the integration of props and your assistants, the incredible juggling. I don’t think I’ve ever seen someone juggle people before. Are you sure you are the only ones who are alive on that stage? When Sydnie came to life, I was sure you would have all the mannequins start performing. Amazing! Thank you.”