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.
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