So I'm finishing up my time in New York for the holidays and saw August: Osage County yesterday. As the New York Times said, it truly is "THE MOST EXCITING NEW AMERICAN PLAY BROADWAY HAS SEEN IN YEARS."
It is billed as a limited engagement so if you get a chance, run over to the Imperial Theater and see this play. I cannot recommend this show enough. Simply brilliant and wonderfully acted. It is theater like this that gives me hope for the future of Broadway and reaffirms that there are artists (writers and actors and theater companies, Steppenwolf for this one) that are still devoted to thinking and producing theater that is outside of the "commercial" box. This show is no Good Vibrations, or some other weakly adapted, somewhat famous or infamous film. It is truly one of a kind and a treasure.
Am going to see another treasure this evening, the amazing and now Ovation Award winning writing and performing team in Striking 12.
Dreampeddler
Monday, December 31, 2007
Tuesday, December 18, 2007
Writers Boot Camp
So last night was the last night of my 6 week Writers Boot Camp course. If you are interested at all in screenwriting, you must take this class. The tool kit they provide is just exceptional and finally gave me exercises I could use on the blank page instead of just sitting there staring at it wondering what will or should come next. Do the exercises, you will create material. That simple.
Their motto is this: The secret to writing... is writing.
Now I just have to figure out how I can afford to take their 2 year course.
dreampeddler
Their motto is this: The secret to writing... is writing.
Now I just have to figure out how I can afford to take their 2 year course.
dreampeddler
Friday, December 14, 2007
Final Question Regarding the T Fellowship
One last addition. After emailing John one more time with his answer to one of my questions, it begged for one more question:
DREAMPEDDLER: What does Hal Prince and the committee see as the biggest problem on Broadway and what is it they'd like to see changed?
JP: The big problem they're trying to tackle is that the job of the producer has evolved over the past thirty years to be primarily about the money and financing. While that's always be a key part of the job--no pay, no play, whether it's 1907 and you're Lee Shubert or it's 2007 and you're John Pinckard--the degree to which the financial side has become dominant has taken its toll on the artistic integrity of the work on Broadway. Hal's position is that Broadway, and commercial Broadway at that, has traditionally been the best of both art and commerce. That's a homeostatic balance that I think the fellowship is trying to restore.
Here's to hoping they can! My thanks again to John for his candid answers. I'll be back in NYC one week from Saturday and hope to see many shows. I'll review as many as possible.
Dreampeddler
DREAMPEDDLER: What does Hal Prince and the committee see as the biggest problem on Broadway and what is it they'd like to see changed?
JP: The big problem they're trying to tackle is that the job of the producer has evolved over the past thirty years to be primarily about the money and financing. While that's always be a key part of the job--no pay, no play, whether it's 1907 and you're Lee Shubert or it's 2007 and you're John Pinckard--the degree to which the financial side has become dominant has taken its toll on the artistic integrity of the work on Broadway. Hal's position is that Broadway, and commercial Broadway at that, has traditionally been the best of both art and commerce. That's a homeostatic balance that I think the fellowship is trying to restore.
Here's to hoping they can! My thanks again to John for his candid answers. I'll be back in NYC one week from Saturday and hope to see many shows. I'll review as many as possible.
Dreampeddler
Monday, December 10, 2007
John Pinckard and the T Fellowship
As you have seen on the blogsite, I love to interview directors, actors, creators and other producers to get their take and experience with getting a project up. There is a brand new vehicle called the T Fellowship that is intended to help develop the next generation of producers.
"The T Fellowship honors the legacy of Broadway producer T. Edward Hambleton and is designed to support the development of gifted emerging theatrical producers."
"The T Fellowship is committed to sustaining the finest traditions of creative producing. Although the environment in which theatre is produced continues to change, the underlying principles that have historically shepherded great works of American theater continue to have validity today and must be understood and adapted if the art form is to thrive."
Below is my interview with John Pinckard, one of the winners of this brand new fellowship.
DREAMPEDDLER: How did you hear about the T Fellowship?
JP: I had been producing and directing shows in the Off Off Broadway scene for a couple years by the time I produced Silence! the Musical at the New York International Fringe Festival in 2005. That production garnered a remarkable degree of attention from the commercial sector, and one of the people who saw the show was Hal Prince's assistant. He invited me in for a meeting and told me about the fellowship, which was at that time still in development. He said, "When the program is ready, you need to apply: you're exactly the kind of guy they're looking for." And here we are today.
DREAMPEDDLER: How long was the application process? How many steps did you have to take? Application submission, 1 or 2 interviews?
JP: The application is pretty lengthy; you can see the requirements at http://tfellowship.com/tfellowshipApply.php. Eight applicants were invited in for a pre-screen with the Chair of the Theatre Division at Columbia University, Steven Chaikelson. Five of us were invited back for finalist interviews with the full panel: Steve, Hal Prince, Margo Lion, Edwin Wilson, Tori Bailey, and Gregory Mosher. They intended to select only one fellow, but they awarded the fellowship to me and another candidate, Orin Wolf, after both of us came back for a second interview with the full panel. It's been especially nice, because Orin is a dear friend of mine.
DREAMPEDDLER: How is the fellowship assisting you? Specific classes, networking events, stipend?
JP: The centerpiece of the fellowship is really the project development, where the fellowship committee basically gets behind you as you develop a new project and produce it for Broadway. Now that I have a project selected, Hal and the others will be mentoring me throughout the course of the year as I work with the composer/lyricist/bookwriter team to develop it. Near the end of the year, they will be introducing me to the financial people who will work with me to make the show happen.
There is also the marvelous opportunity to audit classes at Columbia for the MFA in producing/arts management as well. The networking and support component of the program is all about putting me in touch with the contacts I need to get the project done. By way of example, I have a lot of research I need to do to get up to speed on a lot of historical and musicological aspects of the period and location that my project is going to be set in. Rather than fight my way blindly through the catalogue at the New York Public Library, I was able to call the head of the Performing Arts Division of the NYPL, who arranged a meeting for me with the heads of the music and theatre departments. I walked out of there with, shall we say, a highly curated reading list of books! They have set me on to researching things I didn't even realize I needed to be researching...the support has already been invaluable.
There is a stipend as well, $14k in installments throughout the year.
DREAMPEDDLER: As the fellowship is helping you to develop the project, will they have some type of "producer profit participation" in the final work? I ask this as the Nicoll Fellowship in Screenwriting (probably the most prestigious writing contest out there) gives a $30,000 a year stipend for up to 6 winners a year for their fellowship year. They do NOT participate, option or own any part of the project though, so it is completely altruistic in nature.
JP: There is no profit participation in the final work. The T Fellowship is solely about cultivating the next generation of producers; Hal and the fellowship committee are really invested in using the program to make the changes they'd like to see on Broadway.
DREAMPEDDLER: What is your deal structure with the composer/lyricist/bookwriter? Are you commissioning the work and therefore owning the copywright? Sharing some of the creation credit such as co-writer?
JP: It's a little early for me to discuss deal points, but of course the arrangement will be largely based on the Dramatists Guild APC. In terms of my participation in the creation of the show, the authorial team will hold the copyright. I look at the creation of Cabaret, where Hal Prince wanted to do a musical adaptation of "I Am A Camera" and got John & Fred to write it with Joe Masteroff. That show will always be "by" Kander & Ebb, but the show came to life on Broadway largely through the lens of Hal's vision.
DREAMPEDDLER: Have you decided on a particular project to produce through the fellowship yet or are you still considering your options?
JP: I have just picked my project, after two months of deliberation! I'll be working with Chris Miller, a very talented composer/lyricist who I've wanted to work with for almost ten years. We're just getting to work now. His show "The Burnt Part Boys" is expected at the Vineyard next summer if an upcoming reading goes well.
DREAMPEDDLER: I understand you are provided with a budget for a reading. How do you anticipate mounting that reading? Independent of any other readings? Mounting it in NYMF if it is a musical, or mounting it at the Fringe or the Summer Plays Festival?
JP: There's a budget ($20k) for development, but it's not necessarily for a reading. There will be "some" kind of a presentation at the end of the year-long program, next September, but that is dependent on where in the musical's development cycle we happen to be. Chris and I are developing a brand new show, almost from scratch, with source material in the public domain. He works very fast though, and he's actually arranged for us to do a workshop in May at Elon College in North Carolina (his alma mater), so I imagine we'll have a full draft by then. Depending on how that goes, we could be ready for a full backers' read in September. That would obviously be ideal, but I'm not going to force a presentation that we're not ready for; that would be profoundly counterproductive.
The Fellowship is meant to introduce a young producer directly to the backing he needs for a worthy Broadway project; as such sending the musical to NYMF or Fringe would be redundant to the Fellowship. Festivals are more useful if you don't have interest and are looking to grab someone's attention; I have the attention of the best people in the business! I'm very fortunate.
DREAMPEDDLER: When did you receive the fellowship and by when do you have to mount the reading?
JP: I found out in June, but the official announcement and commencement of the program was Sept 17. The program is a year long, so sometime next September I imagine we'll be doing the reading.
DREAMPEDDLER: Is there an anticipated date for others to apply for the 2nd T Fellowship?
JP: If they keep to last year's timeline, they'll put the call out any day now actually. My deadline was Feb 2. But Orin's and mine is the first year...they're still making this up as they go along in a lot of ways.
"The T Fellowship honors the legacy of Broadway producer T. Edward Hambleton and is designed to support the development of gifted emerging theatrical producers."
"The T Fellowship is committed to sustaining the finest traditions of creative producing. Although the environment in which theatre is produced continues to change, the underlying principles that have historically shepherded great works of American theater continue to have validity today and must be understood and adapted if the art form is to thrive."
Below is my interview with John Pinckard, one of the winners of this brand new fellowship.
DREAMPEDDLER: How did you hear about the T Fellowship?
JP: I had been producing and directing shows in the Off Off Broadway scene for a couple years by the time I produced Silence! the Musical at the New York International Fringe Festival in 2005. That production garnered a remarkable degree of attention from the commercial sector, and one of the people who saw the show was Hal Prince's assistant. He invited me in for a meeting and told me about the fellowship, which was at that time still in development. He said, "When the program is ready, you need to apply: you're exactly the kind of guy they're looking for." And here we are today.
DREAMPEDDLER: How long was the application process? How many steps did you have to take? Application submission, 1 or 2 interviews?
JP: The application is pretty lengthy; you can see the requirements at http://tfellowship.com/tfellowshipApply.php. Eight applicants were invited in for a pre-screen with the Chair of the Theatre Division at Columbia University, Steven Chaikelson. Five of us were invited back for finalist interviews with the full panel: Steve, Hal Prince, Margo Lion, Edwin Wilson, Tori Bailey, and Gregory Mosher. They intended to select only one fellow, but they awarded the fellowship to me and another candidate, Orin Wolf, after both of us came back for a second interview with the full panel. It's been especially nice, because Orin is a dear friend of mine.
DREAMPEDDLER: How is the fellowship assisting you? Specific classes, networking events, stipend?
JP: The centerpiece of the fellowship is really the project development, where the fellowship committee basically gets behind you as you develop a new project and produce it for Broadway. Now that I have a project selected, Hal and the others will be mentoring me throughout the course of the year as I work with the composer/lyricist/bookwriter team to develop it. Near the end of the year, they will be introducing me to the financial people who will work with me to make the show happen.
There is also the marvelous opportunity to audit classes at Columbia for the MFA in producing/arts management as well. The networking and support component of the program is all about putting me in touch with the contacts I need to get the project done. By way of example, I have a lot of research I need to do to get up to speed on a lot of historical and musicological aspects of the period and location that my project is going to be set in. Rather than fight my way blindly through the catalogue at the New York Public Library, I was able to call the head of the Performing Arts Division of the NYPL, who arranged a meeting for me with the heads of the music and theatre departments. I walked out of there with, shall we say, a highly curated reading list of books! They have set me on to researching things I didn't even realize I needed to be researching...the support has already been invaluable.
There is a stipend as well, $14k in installments throughout the year.
DREAMPEDDLER: As the fellowship is helping you to develop the project, will they have some type of "producer profit participation" in the final work? I ask this as the Nicoll Fellowship in Screenwriting (probably the most prestigious writing contest out there) gives a $30,000 a year stipend for up to 6 winners a year for their fellowship year. They do NOT participate, option or own any part of the project though, so it is completely altruistic in nature.
JP: There is no profit participation in the final work. The T Fellowship is solely about cultivating the next generation of producers; Hal and the fellowship committee are really invested in using the program to make the changes they'd like to see on Broadway.
DREAMPEDDLER: What is your deal structure with the composer/lyricist/bookwriter? Are you commissioning the work and therefore owning the copywright? Sharing some of the creation credit such as co-writer?
JP: It's a little early for me to discuss deal points, but of course the arrangement will be largely based on the Dramatists Guild APC. In terms of my participation in the creation of the show, the authorial team will hold the copyright. I look at the creation of Cabaret, where Hal Prince wanted to do a musical adaptation of "I Am A Camera" and got John & Fred to write it with Joe Masteroff. That show will always be "by" Kander & Ebb, but the show came to life on Broadway largely through the lens of Hal's vision.
DREAMPEDDLER: Have you decided on a particular project to produce through the fellowship yet or are you still considering your options?
JP: I have just picked my project, after two months of deliberation! I'll be working with Chris Miller, a very talented composer/lyricist who I've wanted to work with for almost ten years. We're just getting to work now. His show "The Burnt Part Boys" is expected at the Vineyard next summer if an upcoming reading goes well.
DREAMPEDDLER: I understand you are provided with a budget for a reading. How do you anticipate mounting that reading? Independent of any other readings? Mounting it in NYMF if it is a musical, or mounting it at the Fringe or the Summer Plays Festival?
JP: There's a budget ($20k) for development, but it's not necessarily for a reading. There will be "some" kind of a presentation at the end of the year-long program, next September, but that is dependent on where in the musical's development cycle we happen to be. Chris and I are developing a brand new show, almost from scratch, with source material in the public domain. He works very fast though, and he's actually arranged for us to do a workshop in May at Elon College in North Carolina (his alma mater), so I imagine we'll have a full draft by then. Depending on how that goes, we could be ready for a full backers' read in September. That would obviously be ideal, but I'm not going to force a presentation that we're not ready for; that would be profoundly counterproductive.
The Fellowship is meant to introduce a young producer directly to the backing he needs for a worthy Broadway project; as such sending the musical to NYMF or Fringe would be redundant to the Fellowship. Festivals are more useful if you don't have interest and are looking to grab someone's attention; I have the attention of the best people in the business! I'm very fortunate.
DREAMPEDDLER: When did you receive the fellowship and by when do you have to mount the reading?
JP: I found out in June, but the official announcement and commencement of the program was Sept 17. The program is a year long, so sometime next September I imagine we'll be doing the reading.
DREAMPEDDLER: Is there an anticipated date for others to apply for the 2nd T Fellowship?
JP: If they keep to last year's timeline, they'll put the call out any day now actually. My deadline was Feb 2. But Orin's and mine is the first year...they're still making this up as they go along in a lot of ways.
Sunday, December 9, 2007
History Boys Review
I was impressed. Very good production of History Boys at the Ahmanson. What I found most interesting is how a show dealing with homosexuality and inappropriate touching by a teacher to his students was handled with no sensationalism. If this subject was put out by the American media, it would be a scandal. This production hardly condemns the acts of the main character and even canonizes him to some extent at the end of the show.
I wonder what the religious right would say about this show.
Performances by the two lead teachers were just terrific. Once again, it reminded me the importance of good casting. Actors, if they are truly exceptional, can lift a production to great heights that would not be possible without their performances. An example of that type of performance was that of Alan Mandell in Trying earlier this year at The Colony Theatre in Burbank. Trying was originally produced in NYC at the Promenade Theater and did not fare that well. Put in Alan Mandell and his exceptional performance, coupled with the superb direction of Cameron Watson, and the show became a huge hit.
On the other hand, the original production of The Scarlet Pimpernel was exceptionally cast (Douglas Sills was launched as a star in the lead role) but the complete lack of direction nearly sunk the show. The fact that it ran for nearly 2 years was simply due to the exceptional performance of Mr. Sills.
Dreampeddler
I wonder what the religious right would say about this show.
Performances by the two lead teachers were just terrific. Once again, it reminded me the importance of good casting. Actors, if they are truly exceptional, can lift a production to great heights that would not be possible without their performances. An example of that type of performance was that of Alan Mandell in Trying earlier this year at The Colony Theatre in Burbank. Trying was originally produced in NYC at the Promenade Theater and did not fare that well. Put in Alan Mandell and his exceptional performance, coupled with the superb direction of Cameron Watson, and the show became a huge hit.
On the other hand, the original production of The Scarlet Pimpernel was exceptionally cast (Douglas Sills was launched as a star in the lead role) but the complete lack of direction nearly sunk the show. The fact that it ran for nearly 2 years was simply due to the exceptional performance of Mr. Sills.
Dreampeddler
Saturday, December 8, 2007
History Boys and 9 to 5
So we're off to see History Boys at the Ahmanson this evening. I am definitely looking forward to it. One of the most important things to do as a producer is to attend other shows as much as possible to see what other producers are up to and how the "market" is reacting to works. It is always cyclical. Remember when there was nothing but jukebox musicals coming out? Perhaps the producers of the Beach Boys musical, Good Vibrations, would have been better served to not come into the market after so many others had already opened, and quite frankly, made the critics very resistant to giving a good review to anything resembling this type of musical. They closed 44 performances after they opened.
The new trend is to base a musical on a famous movie. Next year, the Ahmanson is jumping on board this trend, producing the upcoming 9 to 5 with music and lyrics by Dolly Parton. They have a powerhouse cast lined up including Allison Janney (one of my favorite actresses from West Wing and many other shows) and Megan Hilty from Wicked. From an investor standpoint, this is probably a pretty good bet (although investing in theater is always gambling). But from an artistic standpoint, I would be very concerned.
It all started with the Broadway version of Beauty and the Beast and Grease! We all know these stories from beginning to end before we even step foot into the theater. And because of that, these shows are not required to truly tell the whole story on the stage. What happened with Grease! was since the production was not required to show you the relationships of the characters on the stage because everyone already knows what is supposed to happen, all the numbers became these flashy, Vegas production type numbers that were there only to wow the audience, not inform the audience or push the story forward. With Beauty and the Beast, if you have not seen the movie, I would venture to guess you would be quite confused by the stage version as there are countless holes in the show that are easily filled in by audience members who know the story already so the holes are certainly forgiven if even noticed by those audience members.
My hope for 9 to 5 is this: Remember to show us the whole story in a unique way employing the special storytelling elements and medium of musical theater to entertain the audience. Don't just be a bunch of showy numbers about 3 women who get back at their terrible boss. If it falls into that category, it will be a terrible show. It it falls into the former, it has a shot to be something special.
Dreampeddler
The new trend is to base a musical on a famous movie. Next year, the Ahmanson is jumping on board this trend, producing the upcoming 9 to 5 with music and lyrics by Dolly Parton. They have a powerhouse cast lined up including Allison Janney (one of my favorite actresses from West Wing and many other shows) and Megan Hilty from Wicked. From an investor standpoint, this is probably a pretty good bet (although investing in theater is always gambling). But from an artistic standpoint, I would be very concerned.
It all started with the Broadway version of Beauty and the Beast and Grease! We all know these stories from beginning to end before we even step foot into the theater. And because of that, these shows are not required to truly tell the whole story on the stage. What happened with Grease! was since the production was not required to show you the relationships of the characters on the stage because everyone already knows what is supposed to happen, all the numbers became these flashy, Vegas production type numbers that were there only to wow the audience, not inform the audience or push the story forward. With Beauty and the Beast, if you have not seen the movie, I would venture to guess you would be quite confused by the stage version as there are countless holes in the show that are easily filled in by audience members who know the story already so the holes are certainly forgiven if even noticed by those audience members.
My hope for 9 to 5 is this: Remember to show us the whole story in a unique way employing the special storytelling elements and medium of musical theater to entertain the audience. Don't just be a bunch of showy numbers about 3 women who get back at their terrible boss. If it falls into that category, it will be a terrible show. It it falls into the former, it has a shot to be something special.
Dreampeddler
Wednesday, December 5, 2007
Strike 2007, revisited, IATSE vs. the Writers both vs. the Producers
Just a bit more on the Writers' strike and IATSE. I'm sure you are thinking get over it, Broadway is back up and running, but that's the whole point of this post.
Back to IATSE. I wrote about both strikes a couple of weeks ago and pleaded for IATSE to put their demands into the public arena so we could decide if we wanted to support them or not. Funny, they didn't do that. And I imagine if they did, we all would have laughed them away from the bargaining table (are you kidding, you want the producers to pay for a guy who only has to raise and lower the curtain?). But they did get a deal done. And that is something.
The Writers on the other hand, did put their viral messages out there and won the PR war (63%-4% according the this post) but there is no deal on the horizon, and probably won't be anytime soon. The difference is this though... The Internet has to be dealt with and it will be. If the producers don't settle this now with the Writers, they'll have to deal with it with the Directors and if they can't get a deal with them, then they'll have to deal with the actors, who supposedly are all lined up to strike unless the Internet thing is addressed.
Well in the marketplace, it will be dealt with, and there will ultimately be a deal and settlement. Just like IATSE got their deal, the Writers' will get theirs too. I just hope it is equitable for all and that quality writing can get back to work... they've never been able to raise and lower a curtain, but they have always been able to make me laugh, think and even cry. They deserve the big bucks when they do their job right!
Dreampeddler
Back to IATSE. I wrote about both strikes a couple of weeks ago and pleaded for IATSE to put their demands into the public arena so we could decide if we wanted to support them or not. Funny, they didn't do that. And I imagine if they did, we all would have laughed them away from the bargaining table (are you kidding, you want the producers to pay for a guy who only has to raise and lower the curtain?). But they did get a deal done. And that is something.
The Writers on the other hand, did put their viral messages out there and won the PR war (63%-4% according the this post) but there is no deal on the horizon, and probably won't be anytime soon. The difference is this though... The Internet has to be dealt with and it will be. If the producers don't settle this now with the Writers, they'll have to deal with it with the Directors and if they can't get a deal with them, then they'll have to deal with the actors, who supposedly are all lined up to strike unless the Internet thing is addressed.
Well in the marketplace, it will be dealt with, and there will ultimately be a deal and settlement. Just like IATSE got their deal, the Writers' will get theirs too. I just hope it is equitable for all and that quality writing can get back to work... they've never been able to raise and lower a curtain, but they have always been able to make me laugh, think and even cry. They deserve the big bucks when they do their job right!
Dreampeddler
Saturday, December 1, 2007
DJ Salisbury directing Super Chix Reading
Web 2.0 is an amazing thing. Facebook, Linkedin and MySpace all allow for us to get back in touch with folks we have worked with from way back. It's just great. Recently, I was able to reconnect with DJ Salisbury who worked with me forever ago on GREASE! As so many of us who started as actors/performers in the theater, DJ too has moved "to the other side of the table" as a director/choreographer. This happens so much in the theater as I think about my friends from Scarlett Pimpernell. Many of that cast have gotten into producing, casting, directing and even writing. This is such a challenging business that you have to wear as many hats as possible just to stay in it!
I spoke with DJ about his new project in development:
DREAMPEDDLER: What is the name of your project?
DJ: Working title is SUPER CHIX. Written by Lourds Lane. She tours with her band Lourds and has developed a following in New York and elsewhere.
DREAMPEDDLER: What is it about?
DJ: A comic book artist, distraught over how a recent break up has robbed her of her self-worth, finds new strength and possibility through the irreverent 'wisdom' of a band of off-center superheroes.
DREAMPEDDLER: Do you have any actors or other name talent attached?
DJ: Frenchie Davis (American Idol) has agreed to play one of the Super Chix and all of the other singer/actors are front women for existing rock bands.
DREAMPEDDLER: What is your position for it? Director/Choreographer/Writer/Producer?
DJ: I am the director and dramaturg. There will be dance in the form of modern adagio (one couple appears throughout the show) and we are still in search of a choreographer. In our reading, we will not have dance but rather a person describing the dances and theatrical visuals.
DREAMPEDDLER: How did you find the project?
DJ: I was recommended by one of the attached actors. Her name is Kacie Sheik (yes, she has a famous music industry relative) and I directed her in a show about four years ago. She has been singing more often than acting since then and has developed a following. I recall hearing that I was one of three directors the writer/singer/actor met. We hit it off and she was drawn to my vision for the expansion of the piece.
DREAMPEDDLER: Do you have producers attached?
DJ: Since we are in the early stages, there is no producer attached as yet. Lourds has said that she has some interest and she does have an angel or two to help us put up a reading at the Zipper Factory in January.
DREAMPEDDLER: What are your goals or steps in place to get it up and running, i.e. staged readings, putting it into NYMF, doing a regional production to hopefully move?
DJ: Staged reading in late January. I do not think we'll go into a festival setting...given that the talent is from the music industry (i.e., of varying schedules) and that the visual concepts will be important to the overall experience, it would not be well represented in a minimal showcase. Our model is more like De La Guarda or a small scale Cirque in terms of visual realization. A multi-media theater "experience" more than a book musical.
Thanks again to DJ for spending some time on the blog. I'll check back in with him as the show progresses.
I spoke with DJ about his new project in development:
DREAMPEDDLER: What is the name of your project?
DJ: Working title is SUPER CHIX. Written by Lourds Lane. She tours with her band Lourds and has developed a following in New York and elsewhere.
DREAMPEDDLER: What is it about?
DJ: A comic book artist, distraught over how a recent break up has robbed her of her self-worth, finds new strength and possibility through the irreverent 'wisdom' of a band of off-center superheroes.
DREAMPEDDLER: Do you have any actors or other name talent attached?
DJ: Frenchie Davis (American Idol) has agreed to play one of the Super Chix and all of the other singer/actors are front women for existing rock bands.
DREAMPEDDLER: What is your position for it? Director/Choreographer/Writer/Producer?
DJ: I am the director and dramaturg. There will be dance in the form of modern adagio (one couple appears throughout the show) and we are still in search of a choreographer. In our reading, we will not have dance but rather a person describing the dances and theatrical visuals.
DREAMPEDDLER: How did you find the project?
DJ: I was recommended by one of the attached actors. Her name is Kacie Sheik (yes, she has a famous music industry relative) and I directed her in a show about four years ago. She has been singing more often than acting since then and has developed a following. I recall hearing that I was one of three directors the writer/singer/actor met. We hit it off and she was drawn to my vision for the expansion of the piece.
DREAMPEDDLER: Do you have producers attached?
DJ: Since we are in the early stages, there is no producer attached as yet. Lourds has said that she has some interest and she does have an angel or two to help us put up a reading at the Zipper Factory in January.
DREAMPEDDLER: What are your goals or steps in place to get it up and running, i.e. staged readings, putting it into NYMF, doing a regional production to hopefully move?
DJ: Staged reading in late January. I do not think we'll go into a festival setting...given that the talent is from the music industry (i.e., of varying schedules) and that the visual concepts will be important to the overall experience, it would not be well represented in a minimal showcase. Our model is more like De La Guarda or a small scale Cirque in terms of visual realization. A multi-media theater "experience" more than a book musical.
Thanks again to DJ for spending some time on the blog. I'll check back in with him as the show progresses.
Thursday, November 29, 2007
Strike out! The shows go back up.
So the deal is done! Check out the article in Playbill. Question still is, was it worth it? For both sides? The silence is still deadly as to what the particulars are but let's hope it all makes sense for the industry as a whole!
Get those speed throughs done today and BREAK A LEG!
dreampeddler
Get those speed throughs done today and BREAK A LEG!
dreampeddler
Wednesday, November 28, 2007
Back from Thanksgiving; Writers and Local One Still Striking
Hope all had a wonderful Thanksgiving holiday. I was able to spend some time with my girlfriend and her Mom and was truly thankful for that.
Day 19 of the Local One strike and everyone seems optimistic about a resolution today. The Writers strike also seems to be winding its way to a finish. Here's hoping they get it done as soon as possible and certainly before the Christmas break.
Am working on another interview with a director trying to get a new multimedia show up in New York. Should have it up in the next day or two.
Stay tuned...
dreampeddler
Day 19 of the Local One strike and everyone seems optimistic about a resolution today. The Writers strike also seems to be winding its way to a finish. Here's hoping they get it done as soon as possible and certainly before the Christmas break.
Am working on another interview with a director trying to get a new multimedia show up in New York. Should have it up in the next day or two.
Stay tuned...
dreampeddler
Tuesday, November 20, 2007
Local One IATSE Strike vs. the Writers Guild Strike
Is it just me that has noticed a huge difference in the current entertainment industry strikes? The Writers Guild membership has clearly laid out their demands for all the public to see. No matter what the PR spin is, the writers are clearly stating they want more residuals on DVD sales and to negotiate a decent royalty rate on new media (see my earlier post to watch their video on youtube). They have put their proposal out in the open to be seen by the public. From what I can tell, the writers have presented a pretty good case and the public is supporting them because of their outreach. It is pretty hard to think that asking for an additional 4 cents per DVD sale is unheard of or selfish, or that the writers should share in new media use of their work.
However, with Local One IATSE, I just don't know what they are fighting for. They have remained quiet in getting their cause out there so the public cannot get behind them. All they will say is that management is trying to reduce their jobs and wages by 38%. See their site for their quote. If indeed this is the case, why are they not getting that message out there? How is management trying to reduce their wages and jobs? Without the specifics, all I can think of is how IATSE once had a rule that management had to hire one stage hand to raise and lower the curtain. That person could not do any other job. Without specifics, I can only think that management is trying to curtail other types of required quotas to fill positions that perhaps are not necessary or can indeed be combined with other positions. Hey, if you are going to make accusations that your membership is trying to save their house not the second or third house that the producers have, then you better back that up. I have been a producer, and I don't own even one house. Come on, IATSE, let us know what you are fighting for, and then we can decide for ourselves if we should rightfully come to your aid!
dreampeddler
However, with Local One IATSE, I just don't know what they are fighting for. They have remained quiet in getting their cause out there so the public cannot get behind them. All they will say is that management is trying to reduce their jobs and wages by 38%. See their site for their quote. If indeed this is the case, why are they not getting that message out there? How is management trying to reduce their wages and jobs? Without the specifics, all I can think of is how IATSE once had a rule that management had to hire one stage hand to raise and lower the curtain. That person could not do any other job. Without specifics, I can only think that management is trying to curtail other types of required quotas to fill positions that perhaps are not necessary or can indeed be combined with other positions. Hey, if you are going to make accusations that your membership is trying to save their house not the second or third house that the producers have, then you better back that up. I have been a producer, and I don't own even one house. Come on, IATSE, let us know what you are fighting for, and then we can decide for ourselves if we should rightfully come to your aid!
dreampeddler
Friday, November 16, 2007
Interview with Ed Dixon, Old Max in How the Grinch Stole Christmas on Broadway
Part of any writer/producer's job is to continually develop relationships with other writers, actors and producers. In that vein, I just did a quick interview with one of my dearest and most talented actor/writer friends, Ed Dixon. We talked about his playing a dog in How the Grinch Stole Christmas, the IATSE strike, Stephen Sondheim, Les Miz and The Iceman Cometh.
Dreampeddler: How do you like playing a dog?
ED DIXON: I liked the role of Max the moment I read it. Even before I was hired, when I started working on it, I felt like I knew who he was. Then as the process went on and it got more and more layers, it became even more enjoyable. I started with him as a man. There is some allusion in the script to the fact that he resembles Theodore Geisel (Dr. Seuss) then as I rehearsed, I allowed him to slowly take on small doggie characteristics, so that it wasn't just a parody. They asked me to bark early on in the process, and I declined since I just wasn't there. Later on it seemed right to bark a couple of times. By the time I got into the costume and makeup, I found that he was very much more a dog than Dr. Seuss. This surprised me. It wasn't my original inclination. He's also an old dog. So that greatly impacts his walk and speech and mannerisms. This also came on slowly in the process. By opening night he really was a dog.
Dreampeddler: Did you enjoy the rehearsal process? I believe you mentioned that the creators of the show are still tweaking and fixing the show even though it has had multiple runs.
ED DIXON: I found the rehearsal process very difficult. I like to work very fast and do a lot of homework. But the fact that the show is double cast with children meant that everything had to be done at least twice, first with one group of children and then with the other. My process takes a long time, but I like to do the individual parts of it very quickly. That was not the case here. This version of the show is radically different from last year's. I had actually memorized last year's script before we started rehearsals. They had assured me it wasn't going to change that much. Wrong! It was very difficult to relearn the script, but I had to admit from the beginning that it was a big improvement. And I got to introduce a new song, "this time of year" which I like very much. And I reprise it at the end which is very moving. There's also a big production number for the entire company in the middle of the show which is terrific. I'm very, very pleased with the new version and so are the creatives. And apparently the critics are happy with it as well.
Dreampeddler: How has the strike affected the show?
ED DIXON: Well, the most obvious way is that we're not doing it. What a crazy thing to open a show with all that adrenaline and excitement and then find out before the curtain call that we wouldn't be performing the next day. On the positive side, we'd just finished two weeks of twelve hour days with no day off and the pressure of the critics and we were scheduled to do four performances the next day and three the day after that. So stopping for a minute wasn't the worst thing that could happen to a person. But after those two days of rest I was really ready to get back on the horse. Now after all these days, it's just painful. I don't think any of us believed it would last this long... Since no strike in Broadway history had ever gone beyond four days.
Dreampeddler: Although you haven't had a full week of slated shows yet, how do you think you'll handle the stamina for so many shows in a week? Can you compare that to the other marathon shows you have been in like Les Miz and the Iceman Cometh?
ED DIXON: Well, we actually had done eleven or twelve shows before we opened due to the heavy weekend schedule. So I’d already done one of those "four on Saturday, three on Sunday" weekends. Let me tell you, the third one on Saturday was really hard. It gets difficult to remember if you've already done a scene or if you're about to do it. I don't think I’ve ever even rehearsed a show four times in one day. And after three on Saturday, the prospect of doing another one and then three the next day seemed impossible. But then after getting over that hump, it got surprisingly easy. I got a second wind and the easiest of all was the last one on Sunday. That surprised the hell out of me. Grinch is short, so doing it twice is actually less time than doing one les miz... And Lord knows I did hundreds of two show days at Les Miz. And as for Iceman Cometh, at five or five and a half hours... And yes, we did do two show days of that... Four Grinches is a walk in the park.
Dreampeddler: Are you working on anything else while doing the show?
ED DIXON: A company in New Jersey is making plans to film my screenplay of the Ravenwood Horror. It's an adaptation of my play Murder at the Apthorp. Have just written some background music for it. A haunting and dissonant piano score. Eric Schaeffer has been talking to me about mounting my two person play, Scenery, at his Signature Theater in DC. I'm working on a new play about a Werner Oland type character in old Hollywood who's become famous for doing a Charlie Chan type character... And of course, he's not Asian. It's called Chu Chu Chow and is about the cockamamie relationship between the racially insensitive protagonist and his Asian houseboy. Am also busy preparing my new musical based on Faye Weldon’s book, She-Devil. Have just completed a demo with some really great New York talent and we're looking for a workshop opportunity. I'm working on it with Warren Carlyle the fantastic choreographer/director who secured the rights to the book and asked me to write it.
Dreampeddler: What’s next up for you?
ED DIXON: After Grinch I’m going immediately into Sunday in the park with George with the Roundabout Theater Company. Actually the two jobs overlap by a couple of weeks. When the opportunity first presented itself to me I thought, "How on earth will I do fourteen or fifteen shows a week of Grinch while rehearsing Sunday?" but now I’ve had this little rest period provided by IATSE Local One and I’m not so apprehensive. I've always wanted to do a show in New York with Mr. Sondheim and I’m very happy to have the opportunity. When I arrived in New York forty years ago my dream was to work with Leonard Bernstein, and sure enough, I got to open the Kennedy Center with him in his Mass and make the recording (which he conducted) for Columbia Records. Nice to have dreams come true.
Thanks, Ed! You're the best. Look for more musicals and plays from this incredibly talented and driven writer.
dreampeddler
Dreampeddler: How do you like playing a dog?
ED DIXON: I liked the role of Max the moment I read it. Even before I was hired, when I started working on it, I felt like I knew who he was. Then as the process went on and it got more and more layers, it became even more enjoyable. I started with him as a man. There is some allusion in the script to the fact that he resembles Theodore Geisel (Dr. Seuss) then as I rehearsed, I allowed him to slowly take on small doggie characteristics, so that it wasn't just a parody. They asked me to bark early on in the process, and I declined since I just wasn't there. Later on it seemed right to bark a couple of times. By the time I got into the costume and makeup, I found that he was very much more a dog than Dr. Seuss. This surprised me. It wasn't my original inclination. He's also an old dog. So that greatly impacts his walk and speech and mannerisms. This also came on slowly in the process. By opening night he really was a dog.
Dreampeddler: Did you enjoy the rehearsal process? I believe you mentioned that the creators of the show are still tweaking and fixing the show even though it has had multiple runs.
ED DIXON: I found the rehearsal process very difficult. I like to work very fast and do a lot of homework. But the fact that the show is double cast with children meant that everything had to be done at least twice, first with one group of children and then with the other. My process takes a long time, but I like to do the individual parts of it very quickly. That was not the case here. This version of the show is radically different from last year's. I had actually memorized last year's script before we started rehearsals. They had assured me it wasn't going to change that much. Wrong! It was very difficult to relearn the script, but I had to admit from the beginning that it was a big improvement. And I got to introduce a new song, "this time of year" which I like very much. And I reprise it at the end which is very moving. There's also a big production number for the entire company in the middle of the show which is terrific. I'm very, very pleased with the new version and so are the creatives. And apparently the critics are happy with it as well.
Dreampeddler: How has the strike affected the show?
ED DIXON: Well, the most obvious way is that we're not doing it. What a crazy thing to open a show with all that adrenaline and excitement and then find out before the curtain call that we wouldn't be performing the next day. On the positive side, we'd just finished two weeks of twelve hour days with no day off and the pressure of the critics and we were scheduled to do four performances the next day and three the day after that. So stopping for a minute wasn't the worst thing that could happen to a person. But after those two days of rest I was really ready to get back on the horse. Now after all these days, it's just painful. I don't think any of us believed it would last this long... Since no strike in Broadway history had ever gone beyond four days.
Dreampeddler: Although you haven't had a full week of slated shows yet, how do you think you'll handle the stamina for so many shows in a week? Can you compare that to the other marathon shows you have been in like Les Miz and the Iceman Cometh?
ED DIXON: Well, we actually had done eleven or twelve shows before we opened due to the heavy weekend schedule. So I’d already done one of those "four on Saturday, three on Sunday" weekends. Let me tell you, the third one on Saturday was really hard. It gets difficult to remember if you've already done a scene or if you're about to do it. I don't think I’ve ever even rehearsed a show four times in one day. And after three on Saturday, the prospect of doing another one and then three the next day seemed impossible. But then after getting over that hump, it got surprisingly easy. I got a second wind and the easiest of all was the last one on Sunday. That surprised the hell out of me. Grinch is short, so doing it twice is actually less time than doing one les miz... And Lord knows I did hundreds of two show days at Les Miz. And as for Iceman Cometh, at five or five and a half hours... And yes, we did do two show days of that... Four Grinches is a walk in the park.
Dreampeddler: Are you working on anything else while doing the show?
ED DIXON: A company in New Jersey is making plans to film my screenplay of the Ravenwood Horror. It's an adaptation of my play Murder at the Apthorp. Have just written some background music for it. A haunting and dissonant piano score. Eric Schaeffer has been talking to me about mounting my two person play, Scenery, at his Signature Theater in DC. I'm working on a new play about a Werner Oland type character in old Hollywood who's become famous for doing a Charlie Chan type character... And of course, he's not Asian. It's called Chu Chu Chow and is about the cockamamie relationship between the racially insensitive protagonist and his Asian houseboy. Am also busy preparing my new musical based on Faye Weldon’s book, She-Devil. Have just completed a demo with some really great New York talent and we're looking for a workshop opportunity. I'm working on it with Warren Carlyle the fantastic choreographer/director who secured the rights to the book and asked me to write it.
Dreampeddler: What’s next up for you?
ED DIXON: After Grinch I’m going immediately into Sunday in the park with George with the Roundabout Theater Company. Actually the two jobs overlap by a couple of weeks. When the opportunity first presented itself to me I thought, "How on earth will I do fourteen or fifteen shows a week of Grinch while rehearsing Sunday?" but now I’ve had this little rest period provided by IATSE Local One and I’m not so apprehensive. I've always wanted to do a show in New York with Mr. Sondheim and I’m very happy to have the opportunity. When I arrived in New York forty years ago my dream was to work with Leonard Bernstein, and sure enough, I got to open the Kennedy Center with him in his Mass and make the recording (which he conducted) for Columbia Records. Nice to have dreams come true.
Thanks, Ed! You're the best. Look for more musicals and plays from this incredibly talented and driven writer.
dreampeddler
Wednesday, November 14, 2007
Los Angeles Ovation Awards Winners, Groovelily, Brendan Milburn and Valerie Vigoda
A huge congratulations go out to my friends in Groovelily, Valerie Vigoda and Brendan Milburn. Their latest show, Sleeping Beauty Wakes, won the Ovation Award for World Premiere Musical and Brendan received the Ovation Award for Musical Direction.
These guys are truly the top maestros with piano and violin that I know - and they're smart. Their lyrics bear repeated listening and the hooks in their songs are infectious but sophisticated - not like your typical pop song that bounces around in your head for a week or two but then sickens you after too much exposure!
Their first musical that got them noticed at the NAMT festival was Striking Twelve, which had its off-Broadway premier last year. It is another smart, funny and touching show dynamically played out and performed by Valerie, Brendan and Gene Lewin (the third member of Groovelily). They are touring Striking Twelve for the holidays so check out their site to see if they will be near you. I'll watch them count down to midnight on New Year's Eve myself with Stephanie Fredricks and her mom, Judith. They'll be at the Zipper in NYC for that show.
dreampeddler
These guys are truly the top maestros with piano and violin that I know - and they're smart. Their lyrics bear repeated listening and the hooks in their songs are infectious but sophisticated - not like your typical pop song that bounces around in your head for a week or two but then sickens you after too much exposure!
Their first musical that got them noticed at the NAMT festival was Striking Twelve, which had its off-Broadway premier last year. It is another smart, funny and touching show dynamically played out and performed by Valerie, Brendan and Gene Lewin (the third member of Groovelily). They are touring Striking Twelve for the holidays so check out their site to see if they will be near you. I'll watch them count down to midnight on New Year's Eve myself with Stephanie Fredricks and her mom, Judith. They'll be at the Zipper in NYC for that show.
dreampeddler
Tuesday, November 13, 2007
Writers Boot Camp - The battle to write and/or find screenplays
So last night was my first night of Boot Camp. No, I am not in a weird time warp taking me back to my days in the 82nd Airborne Division, but Writer's Boot Camp.
One of the things that can be most difficult for a producer is to find material. There are plenty of wannabe writers out there as screenplays have become to generations X and Y what the great American novel was to the generations before us. And most of the screenplays out there are not exceptional. I know, cause I've written a few of 'em. However, if you've really got a great germ of an idea, where can you go to develop it yourself? Well a friend of mine recommended the Boot Camp.
I was intrigued. Basically, they offer a 6 week course on screenwriting that meets once a week. During those 6 weeks, you are to work at least 10 hours a week with the exercises they give you on your screenplay. These exercises are applicable to any screenplay and are intended to help brainstorm and provide a structure for your screenplay. Once the course ends, you have about 2 weeks to finish writing your draft of a screenplay and then turn it in to your instructor.
Well after my first class last night, I am even more intrigued. What I found most exciting is the exercises themselves. When a writer faces the blank page, it can be very intimidating. After you have sharpened your pencils, made a pot of coffee, cleaned the kitchen, basically everything you can do to procrastinate and avoid writing - but once you finally do show up to the page, what are you supposed to do? These exercises provide that what, and I'm going to dive right in. And best of all, these exercises will hopefully help me to make some of those less than exceptional screenplays in my desk drawer, a bit more shinny and new!
I'll keep you all posted.
dreampeddler
One of the things that can be most difficult for a producer is to find material. There are plenty of wannabe writers out there as screenplays have become to generations X and Y what the great American novel was to the generations before us. And most of the screenplays out there are not exceptional. I know, cause I've written a few of 'em. However, if you've really got a great germ of an idea, where can you go to develop it yourself? Well a friend of mine recommended the Boot Camp.
I was intrigued. Basically, they offer a 6 week course on screenwriting that meets once a week. During those 6 weeks, you are to work at least 10 hours a week with the exercises they give you on your screenplay. These exercises are applicable to any screenplay and are intended to help brainstorm and provide a structure for your screenplay. Once the course ends, you have about 2 weeks to finish writing your draft of a screenplay and then turn it in to your instructor.
Well after my first class last night, I am even more intrigued. What I found most exciting is the exercises themselves. When a writer faces the blank page, it can be very intimidating. After you have sharpened your pencils, made a pot of coffee, cleaned the kitchen, basically everything you can do to procrastinate and avoid writing - but once you finally do show up to the page, what are you supposed to do? These exercises provide that what, and I'm going to dive right in. And best of all, these exercises will hopefully help me to make some of those less than exceptional screenplays in my desk drawer, a bit more shinny and new!
I'll keep you all posted.
dreampeddler
Monday, November 12, 2007
Strike 2.0, Now the Theatrical Stage Employees Union Local One and the League of American Theatres Battle it Out
So now we go into labor strikes with Local One and the League. Check out the link to Broadwayworld.com to get the summary but here is my take as an independent producer.
It seems one show a year gets to move from off-Broadway to Broadway. It seemed to be the model over the past five years to raise a smaller amount of money to get your show/musical up off-Broadway and then see if you get the kind of reviews that would merit investors/producers to move your show the Big Time, i.e. Rent, Urinetown, Spelling Bee, and most recently, Grey Gardens. I certainly tried to use that model with Fanny Hill, but although we got very good reviews, we were unable to get enough buzz going to move.
That being said, I believe the model of mounting your show off-Broadway is falling out of favor. Reason being: even that is too expensive! You simply cannot make a business case for spending up to 1 million bucks to mount a decent production off-Broadway just to roll the dice... unless you have some very rich friends or an Angel investor.
So what can you do? Well if you've got a musical, you need to submit it to the New York Music Theater Festival. This festival is basically the "Sundance Festival" for new musical works. If you are selected to participate in this festival, they will work with you in mounting a full-scale production over 6 to 8 performances over three weeks that will run in rep with over 30 shows. There is no other festival out there that has had the type of success they have had for a fraction of the cost of mounting a reading/performance yourself.
What makes them work is simply this, collaboration and sharing resources. Instead of 30 shows all trying to pay for 30 different theaters, advertising, lighting, etc., they have put in place a system in which everyone shares these costs. Basically they "shine a spotlight" and give great exposure to all the shows in the festival that each one would have great difficultly doing by themselves.
I produced Richard Cory there in 2005 and got great exposure for the show. Cory won an award for best musical and best actress. I'll post about that at another time.
Click here to submit.
By dreampeddler
It seems one show a year gets to move from off-Broadway to Broadway. It seemed to be the model over the past five years to raise a smaller amount of money to get your show/musical up off-Broadway and then see if you get the kind of reviews that would merit investors/producers to move your show the Big Time, i.e. Rent, Urinetown, Spelling Bee, and most recently, Grey Gardens. I certainly tried to use that model with Fanny Hill, but although we got very good reviews, we were unable to get enough buzz going to move.
That being said, I believe the model of mounting your show off-Broadway is falling out of favor. Reason being: even that is too expensive! You simply cannot make a business case for spending up to 1 million bucks to mount a decent production off-Broadway just to roll the dice... unless you have some very rich friends or an Angel investor.
So what can you do? Well if you've got a musical, you need to submit it to the New York Music Theater Festival. This festival is basically the "Sundance Festival" for new musical works. If you are selected to participate in this festival, they will work with you in mounting a full-scale production over 6 to 8 performances over three weeks that will run in rep with over 30 shows. There is no other festival out there that has had the type of success they have had for a fraction of the cost of mounting a reading/performance yourself.
What makes them work is simply this, collaboration and sharing resources. Instead of 30 shows all trying to pay for 30 different theaters, advertising, lighting, etc., they have put in place a system in which everyone shares these costs. Basically they "shine a spotlight" and give great exposure to all the shows in the festival that each one would have great difficultly doing by themselves.
I produced Richard Cory there in 2005 and got great exposure for the show. Cory won an award for best musical and best actress. I'll post about that at another time.
Click here to submit.
By dreampeddler
Sunday, November 11, 2007
Writers Guild Strike, WGA's Demands
Here is an interesting clip on youtube explaining the writers' demands for the negotiations with the producers. As a writer and producer myself, it is a bit odd to think I would have to negotiate with myself. Many showrunners are caught in the same position. However, coming from a perfomer background, I certainly have a bais to the writers and think they present a very valid and reasonable argument for what they are negotiating for. Check it out.
Friday, November 9, 2007
Fanny Hill the Musical by Ed Dixon, Produced by Nick Cavarra
Check out the Fanny Hill website to see information on the show I produced at the York Theatre in New York. We opened on Valentine's Day 2005 and enjoyed a 6 week run. We received 2 Drama Desk Nominations and a Drama League Award. You can also check out Ed Dixon's webpage. He is the author and creator of the show and is currently appearing as Old Max in How the Grinch Stole Christmas.
As a result of that run, a London producer who saw the show at the York, has decided to pursue a run of Fanny Hill over there. We also gained representation from Miracle or 2 Productions for stock and amature rights.
The first regional production will happen next year at Kalliope Stage in Cleveland. Hopefully, we will have a guest bogger do a daily journal of mounting the production.
by Dreampeddler
As a result of that run, a London producer who saw the show at the York, has decided to pursue a run of Fanny Hill over there. We also gained representation from Miracle or 2 Productions for stock and amature rights.
The first regional production will happen next year at Kalliope Stage in Cleveland. Hopefully, we will have a guest bogger do a daily journal of mounting the production.
by Dreampeddler
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