When I first set out to produce an independent film I had written, my friends and I had to do a lot of learning on the fly. Most of that learning helped me go on to produce theater in New York. I wanted to make that information available to other producers looking to get a film or stage project up.
Wednesday, December 17, 2008
Smokey Joe's Cafe
Okay, it finally happened! A show that could actually make some money this year! Steph and I went to the opening night of Smokey Joe's Cafe on Saturday night and were reminded about how great those songs are. It is an infectious evening of theater. The numbers just keep coming and you know just about everyone of them by heart. You can't help but bop your head and tap your feet. Great cast and a great time...
But don't just take my word for it, check out the RAVE in the LA Times!
Get your tickets fast as this show has a limited run. Check out http://www.elportaltheatre.com/events.html
Dreampeddler
Tuesday, November 25, 2008
Six Dance Lessons in Six Weeks
I love going to the theater and getting a pleasant surprise. You're there because you know someone in the show who is very talented and want to support them but you're just not sure if the show will be any good. Well this show was... and Jason Graae was hilarious and charming... and Constance Towers also was a joy to watch. This is a very fun piece with heart and lots of laughs. The program notes say it has been optioned as a film so I wish the author great success in moving it to the screen. And I'll keep my fingers crossed for Jason to be cast in it.
Dreampeddler
Monday, November 17, 2008
Spring Awakening - Ahmanson Theater
Thursday, November 13, 2008
Smokey Joe's Cafe - The El Portal Theatre in NoHo
Hey all,
I've been doing some work for the historic El Portal Theatre in North Hollywood (Pegge Forrest manages the theater with Jay Irwin and I worked for her in CHESS at the Long Beach CLO for my second professional gig!). They are doing a version of SMOKEY JOE'S CAFE that will be directed and choreographed by Jeffrey Polk (who I used to work with at Miceli's as a singing waiter!). Oh the days.
It will be a great show. Click here to buy tickets!
Dreampeddler
Monday, November 3, 2008
Happy Days - The Musical
It was great to see all the legends of show business that are involved with the project including Garry Marshall of course, Paul Williams, John McDaniel (we did Grease! together way back when and he was the musical director when I played Jack in Into the Woods), Gordon Greenberg, Bob Boyett as well as Tom McCoy and Cathy Rigby.
If you are looking for a family friendly show with a heck of a production budget, this one is for you. It is certainly fun to remember all those great characters and how simple things seemed way back when...
Dreampeddler
Wednesday, October 29, 2008
The Upcoming Minsky's at the Ahmanson
So here's the next one on the slate worth looking at. They are doing a pre-Broadway run at the Ahmanson in Los Angeles beginning in January. I'll be watching it closely. This is off the CTG website:
A BRAND NEW MUSICAL!
Minsky’s is a big, racy, new musical comedy set in a time when entertainment was about legs and laughs, and you had to push the limits to keep the customers buying tickets. A rollicking backstage story, set in Prohibition Era New York City, that peeks into a world populated by comedians, con men and seductive, sexy women; a world reigned over by the king of burlesque himself, Billy Minsky — until the day he falls in love and the cops come banging on his door.
Writer Bob Martin and Director/Choreographer Casey Nicholaw (both of The Drowsy Chaperone fame) join forces with the legendary composer Charles Strouse (Bye Bye Birdie, Applause, Annie) and acclaimed lyricist Susan Birkenhead (Jelly’s Last Jam) for this world premiere.
Saturday, October 25, 2008
The Big Broadway Show is Back - 9 to 5, West Side Story, Shrek, and Billy Elliot
I really do believe "small" shows on Broadway are going to find it a challenge to stay open in these economic times. Many might find that exactly opposite what you would expect. Smaller shows, smaller budgets and operating expenses. But shows like Wicked, South Pacific, and the upcoming Shrek, Billiy Elliot, and West Side Story all deliver a BIG BROADWAY SHOW. When you're asking for Joe Plummer's 110 bucks, they better get 110 bucks worth of costumes, orchestrations, sets and dance numbers. With that in mind, it will be up to the producers to find ways to make these BIG shows stay budget friendly, and that will be the trick.
Dolly and her producers are probably changing their tune now to, "Broadway, what a way to make a living!"
Thursday, October 16, 2008
I Hate Great Potential
Over the past several years, the thing that keeps me intrigued about this business is that it is so difficult. It is so difficult to get everyone on the same page and somehow make that great script on the page become the award winning show on the boards. So many things can go wrong. Actors can help or hurt. Doug Sills' performance in Scarlet Pimpernel took an average show at best and made it fun to watch (and be in), while a new independent movie I saw recently had some of the best actors out there giving some of their worst performances ever! Same thing with designers and directors - they can help or hurt but ultimately, all the planets have to line up perfectly to hit it out of the park. But when they all do line up, it makes you want to stay in the business just from the goose bumps you get watching it all unfold before you. The last time I saw this happen was when I saw Wicked out here at the Pantages. Every part of that production lined up. The sets told the same story as the costumes and the orchestrations helped the amazing performers soar to new heights, and the story made sense from beginning to end. And I have to ask, "How did they do that?" And I guarantee any of the creators or producers involved probably don't have a clue. But somehow they were able to make that show with great potential, become "an exceptional theatrical experience."
Off to see 9 to 5 and The Women this weekend. Curious to see if the planets are lining up in those theaters.
Saturday, September 20, 2008
Dreampeddler Productions Invited to Present at Keiretsu Forum SoCal
Come join Dreampeddler Productions and 10 other quality entrepreneurial companies for a great event!
Venture Forum
Registration with Breakfast & Networking
8:15am
Good Morning Welcome with Connie Koch, President Keiretsu Forum Southern California, Sponsors for K4 SoCal, and Nolan Bushnell, recognized as "The Father of the Video Game Industry" and so much more.
Group I
Company Presentations
10:40am
Morning Break
Group II
Company Presentations
12:10am
Member/Guest Introductions
Member Discussion on Participating Companies
Lunch with Connie Koch and Tony Amaradio of Select Portfolio Management on Financial Portfolo Managment, How Does Angel Investing Fit In? Investment of K4 Dollars
2:40pm
Investor Education with Crowell & Moring
When Angels Go International - Strategic Considerations for Investors and Entrepreneurs As Their Companies Expand Abroad
4:20pm
Afternoon Break
4:45pm
Group III
Updates from "Past Participating" Entrepreneurs
5:15pm
K4 SoCal members share Angel Investing 101 with a panel of Keiretsu Forum members, including Ian Adlington, a global investor member with Keiretsu Forum SoCal... How does the International Membership of Keiretsu Forum support entrepreneurial growth in SoCal?
6:30pm
Champagne Reception with announcement of....
Winning Entrepreneurs of Best of Show
Silent Auction Winners
Raffle Drawings
AND....
A Birthday Celebration for Yours Truly...
Cost: Members: $100.00 Non-Members: $250.00
Wednesday, September 17, 2008
Theater Investment and this Crazy Economy
What, them worry?
The producer blamed the slowing economy — but within a day of the cancellation, the theater had another booking: a revival of David Mamet's Speed- the-Plow. (go to their website to read or hear the rest)...
Monday, September 8, 2008
ACE - The New Musical
Saturday, August 30, 2008
Vanities at Pasadena Playhouse
For tickets click here.
Saw the show on Thursday night. I have always enjoyed the play - I very much remember the HBO version in the early 80s with Annette O'Toole and was even considering remounting a version of it last year before I heard they were doing a musical version of it.
From a development standpoint, since the play has been so successful and settled, the challenge is to see where (or if) you can insert musical numbers that do not interrupt the flow of the story. They are still feeling their way with this version but are definitely on the right track. By the end of this run, they will have a very good idea as to what works really well and what adjustments need to be made.
It is definitely worth seeing even at this stage of the process. The performances of the three ladies, Lauren Kennedy as Mary, Sarah Stiles as Joanne and Anneliese van der Pol as Kathy are all very good, especially Sarah Stiles in a very comedic turn.
I look forward to seeing how the show does in its next step and will be rooting for it to make it to Broadway!
Dreampeddler
Monday, August 25, 2008
Olympics - Closing Ceremony and Educating Rita at The Colony
Steph and I made the drive out to The Colony Theater to see Educating Rita. Once again, Cameron Watson did a fantastic job directly the play and the performances of Bjørn Johnson and Rebecca Mozo are terrific. Cameron and Rebecca return to The Colony with this show after the huge success of Trying last year and their reprise of the show a couple of months ago. Educating Rita runs through Sept. 21st so head on out to go see it. A very enjoyable night in the theater.
The Olympics
I have to say that the opening and closing night ceremonies were absolutely mesmerizing. The massive amount of performers and the unity and precision in which they worked was just a joy to behold. I could not help but think that we could never accomplish that in the U.S. In a culture that seems to stem from being a cog in the wheel of a larger whole vs. our culture of thinking it is all about us and immediate gratification - it just makes you wonder how long it will be before China takes over the world. If we don't get some discipline back into our lives and culture, it will be much sooner than later.
At least now I can get some sleep!
Dreampeddler
Tuesday, August 19, 2008
GrooveLily Launches New Website
http://www.groovelily.com
Lots of new interactivity (blog spots and more) and the ability to order all of their music directly from them. It is a great new site and will reside on the right side here so you will always be able to find them!
For those of you who don't know GrooveLily they wrote STRIKING 12 and SLEEPING BEAUTY WAKES and are launching their newest musical LONG STORY SHORT, which opens this fall at City Theatre of Pittsburgh and TheatreWorks Palo Alto. They will release new songs every Wednesday from August 20 until opening night in Pittsburgh on October 29.
Enjoy,
Dreampeddler
Saturday, August 2, 2008
Busy July - Lot's Going On - WHODUNIT?
Friday, July 18, 2008
It's Only LIfe at Rubicon Theater
Here's the breakdown on the show:
It's Only Life
Music and lyrics by John Bucchino
This joyous musical revue features the talents of recent Broadway discovery John Bucchino, a songwriting sensation whose music and lyrics have been recorded by Art Garfunkel, Michael Feinstein, Judy Collins and Patti Lupone. Each song is a revelation - an "aha" moment in which we discover something essential, something elemental, about life. According to the New York Times, Bucchino's "flowing, finely made piano ballads describe an urban life in which relationships come and go in cycles of yearning, fulfillment, heartbreak and healing" - where romantic love is anticipated with "high expectations, high anxiety and open hearts."
Friday, July 4, 2008
Happy July 4th
Happy July 4th to all. It has been a very busy month of June for Dreampeddler Productions. The Producer's Panel at ANMT was very invigorating. It was great to meet some of the directors of new development across town. Panelists I sat with included Tom McCoy (Executive Producer, McCoy Rigby Entertainment); Michael Michetti (Co-Artistic Director, The Theatre @ Boston Court); Michael Jackowitz (Producer/Director of New Works, The Rubicon Theatre); Hilary Genga (Producer); Arnold Margolin (Producing Director, Falcon Theatre).
What I found most interesting is how engaged all of the panelists were and how passionate the attendees were about musical theater. It is clear that there is a real desire to produce, write and mount new musical works throughout the city. We are currently taking meetings with multiple theaters and hope to announce an exciting project very soon. Keep an eye on the blog over the next month and I will keep everyone informed.
Don't forget, if you are in New York July 14th, check out Ed Dixon's new musical Whodunit? at the York Theater.
Friday, June 13, 2008
Amazing Show - Red Dog Howls
Just a quick note and recommendation. Ed is still working on his new chapters and should have them up soon. He has been finishing a new musical called "Whodunit?" and will be doing a reading of it at the York Theater on July 14th. Check out their info below. Also saw a very powerful show called "Red Dog Howls" at the El Portal last weekend. It stars Broadway great Kathleen Chalfant (Angels In America, Wit) and is about a young man who thinks he is Greek until he discovers a letter his late father wrote to his grandmother, who hid their Armenian origins. The last day to see the play is tonight!
WHODUNIT...THE MUSICAL BOOK, MUSIC AND LYRICS BY ED DIXON A wealthy spinster takes a large house in Connecticut for the summer and is joined by her surly maid and her beautiful niece who surprises everyone by bringing along a boyfriend. (Heavens!) However this isn't the only surprise awaiting the occupants of Sunnyside Cottage. The butler informs them that all the rest of the staff have quit due to "strange goings on" and before you can say Whodunit, there's a dead body in the middle of the living room... then another. This fast, breezy and tuneful period piece, set in the elegant 1930's, is a lot of laughs... and maybe a couple of screams.
Monday, July 14, 2008 • 7:30 PM
York Theatre Company 212-935-5824 x24 The Theatre at Saint Peter’s 54th Street, Just East of Lexington
www.yorktheatre.org
ADMISSION IS FREE!
Reservations are suggested. Email Jeff Landsman (please mention your name, phone number, the show you want to see, and the number of tickets you’d like) or call 212-935-5824, ext. 24. There is no admission charge.
THIS SERIES MADE POSSIBLE THROUGH A GENEROUS DONATION FROM THE DOROTHY STRELSIN FOUNDATION
Would YOU like to submit a show for inclusion in the Developmental Reading Series?
Our mission here at York concerns musicals only; we do not accept submissions of plays. A completed script must be submitted, as well as a sound recording of at least most of the songs. If you’d like your materials returned, you must enclose a self-addressed, postage paid envelope.
As we are one of the only theatres in the country which accepts unsolicited scripts, we receive around 400-500 scripts per year. We pride ourselves in properly evaluating each script, which takes time as we have a small staff and a loyal group of volunteer readers. It generally takes at least 6 to 12 months to get a script through our entire process.
Material should be submitted to: York Theatre Company, DEVELOPMENTAL READING SERIES, The Theatre at Saint Peter’s, 619 Lexington Avenue, New York, NY 10022
Saturday, May 31, 2008
Academy of New Muscial Theater
Just a quick update. Ed is working hard on the next chapters of Secrets From a Lifetime on the Stage... and Off! but in the meantime has written another FULL LENGTH musical. I'll be reading it this weekend! We are also pursuing a new production of RICHARD CORY, a musical he wrote based on A.R. Gurney's play, based on the famous poem. It truly is an amazing piece and we hope to get it up in a larger venue than the previously award winning version we did at the NYMF festival in 2005.
If you happen to be in LA at the end of June I will be sitting on a panel at The BIZ OF THE MUSICAL THEATRE BIZ Conference that will take place June 27-30 at The Academy for New Musical Theatre and the Colony Theatre in North Hollywood. My panel will be discussing:
GETTING TO THE TOP OF THE PILE
Producers, artistic directors and agents talk turkey about why they pick a submission from out of the Pile, and why they leave others at the bottom of the Pile. If you register for the conference (or for the Sunday-Only pass), you’re entitled to submit one project to the Pile. It’s up to you what kind of package you submit: full artwork/DVD/script, or just a script, or even just a pitch. The panel will discuss candidly which projects in the Pile get their attention and why. To be considered, submissions must arrive at ANMT no later than 3:00 p.m. Sunday June 29th.
Confirmed Panelists: Tom McCoy (Executive Producer, McCoy Rigby Entertainment); Michael Michetti (Co-Artistic Director, The Theatre @ Boston Court); Michael Jackowitz (Director of New Works, The Rubicon Theatre); Hilary Genga (Producer); Arnold Margolin (Producing Director, Falcon Theatre); Nick Cavarra (Producer, Off-Broadway)
Invited Panelists: Karyl Lynn Burns (Producing Artistic Director, The Rubicon Theatre); David Hamlin (Producer, East of Doheny); Amy Levinson Millan (Literary Manager/Dramaturg, The Geffen Playhouse); Pier Carlo Talenti (Literary Manager of CTG); Steve Rabineau (William Morris Agency); Michael Shepperd (Incoming Artistic Director, Celebration Theatre)
Look forward to seeing you there!
Dreampeddler
Monday, April 21, 2008
My Fair Lady - Ahmanson
I'm not a big fan of the "old fashioned" musicals, but this production is beautifully staged and looks as if they definitely spent some money on sets and costumes. It even boasts a large cast which is nice to see for my fellow actor friends. Michael Farina, who was wonderful in my production of Fanny Hill, and Jesse Swimm, who was in a production of Jesus Christ Superstar at the Westchester Theater that I played Judas in, were both in the production. I love it when people you've worked with show up in a production you go to see.
All in all, it was a very pleasant show. Nothing to jump up and down about from my perspective, but certainly everyone there enjoyed it.
Saturday, April 19, 2008
Amazing Website to Inspire - Ted.com
A quick diversion from Ed's chapters. He sent me an amazing website that if you haven't heard about, you need to check out. It is www.ted.com.
The site is a repository of amazing speeches given by some of the world's most fascinating thinkers. For example see:
Al Gore give his updated slideshow regarding Climate Change
Jill Bolte Taylor, Harvard Neuroanatomist give an amazing speech on her experience of having a stroke
Jan Goodall speak about man and apes
As stated on their website:
"The annual conference now brings together the world's most fascinating thinkers and doers, who are challenged to give the talk of their lives (in 18 minutes)."
TED stands for Technology, Entertainment, Design. It started out (in 1984) as a conference bringing together people from those three worlds. Since then its scope has become ever broader.
"This site makes the best talks and performances from TED available to the public, for free. More than 200 talks from our archive are now available, with more added each week. These videos are released under a Creative Commons license, so they can be freely shared and reposted."
Spend a few minutes on this site and change your thinking!
Monday, April 7, 2008
Open letter to Actors' Equity Association re: New York Music Theater Festival
Dear Actors' Equity,
I am in a very unique position as a producer of off-Broadway shows (including the 2005 production of Richard Cory at the New York Musical Theater Festival (NYMF)) and a proud member of AEA (performer in The Scarlet Pimpernel, Grease! and King David under the production contract) and am writing to express my concern regarding the issue of increasing upfront costs to showcase productions specifically done at NYMF.
As a member of the production contract negotiating committee in 1999, I long ago saw the writing on the wall regarding the seemingly endless escalating costs to mount a new show due to salaries, rent, health insurance, advertising - everything. And since all the costs are rising, where is the first place producers go to cut costs? Development. But what is the most crucial part of any new show’s fragile life? Development. As an artist AND a producer, I am tired of seeing the endless stream of singing mermaids, dancing plates, chimney sweeps and tired second rate movies being the only thing considered for Broadway musicals IN NEW YORK. It is time for all of us to grow up, and that includes Actors’ Equity.
I, like many of my fellow AEA members, have an entrepreneurial spirit. Actors usually do as they are running their own micro businesses that include self promotion, advertising, training and the like. Because of that entrepreneurial spirit, back in 1999 I mentioned to Alan Eisenberg, then Executive Director of Equity, a potential plan for Equity to consider to help reduce upfront costs for a new production with exceptional gains on the back end for any member of Equity. This was a plan that only involved the “development” time for a production. I mentioned this plan to him as AN ACTOR not a producer, knowing that as an actor I was willing to help solve the problem. He simply shot the idea down saying, “Equity actors are salaried employees and will never consider lowering any rates even with the potential of higher pay on the back end.”
I believe that type of thinking was short sighted then and continues to be now. In the specific case of NYMF, they have come up with a working solution to help reign in costs for the development of shows. For going on five years now they have been able to successfully help develop over 32 shows PER YEAR that otherwise might not have been done. And they did it in a way that encompassed full solidarity across the unions. Talk about “favored nations,” everyone involved in every production produced at NYMF, including musicians, directors, stagehands, and designers, by contract made no more than any of the actors involved in the show. Everyone has been and is willing to accept minimum upfront stipends for the very short amount of time required for these developmental productions. Let me simply say this: As a producer I was willing to spend my own money to see the dream of Richard Cory be realized on stage for only 8 shows. We nearly sold-out all of our shows and we still lost money. But seeing that show get done was worth it. We even won the audience award for the show, but since it is a thoughtful piece – not a “commercial” piece, it may never be done again. So be it. But if ever I am able to get the show up for a Broadway or even off-Broadway run – I would run to give every actor, our amazing director, everyone involved in the show, the opportunity to be in that version.
I implore the union to stop thinking in the short term and think long term. Raising the stipend from 300 to 500 dollars could very well put the cost of doing the shows at NYMF beyond the threshold of the young producers trying to get these shows up. It is a bit like the almost laughable stimulus package giving the nation $600 dollars per person to go blow on consumer goods. It will not solve the problem. Trying to enforce the possibility of actors getting an extra $200 dollars now versus the very possibility that increase could actually remove the possibility of getting anything due to unattainable budgets is shooting eveyone in the foot, and maybe even in the head. This raise could even eliminate the possibility of these shows moving on to viable, real wage positions that would include contributions to the union, the health and welfare fund and weeks of work.
As actors we have to understand that we don’t get to be the only ones who get to play and participate in this wonderful thing called theater when more than 90% of all shows don’t even recoup their investments. It is a risky business, and investors are not going to continue to risk their money unless they can see the success of their shows up in front of an audience so they can see their reaction. It is time for the union to take responsibility for our portion of the “business” side of show business and understand that we have to be partners with the entrepreneurs risking their money for us to be able to do the play. I am not asking that we work for free. Hardly. I am asking for us to be smart business people and invest our time in the development process to pay off in dollars when the 10% that move on get the chance to pay us back at a more than respectable rate.
NYMF has come up with and employed a solution to the escalating cost issues of developing new works. Do not eliminate this solution for a lousy 200 bucks an actor. Actors are not being taken advantage of when participating in NYMF. They are participating as partners in the development of potential new works with the promise of a successful show down the road. If the union feels more protection is required, then demand a better package on the back end for those that are participating. Believe me, any producer there would be happy to take care of their fellow partners. If we take away this solution, we are not going to rise above singing candlesticks and dancing apes in the jungle. Not that those are bad things, but it shouldn’t be the only option.
Sincerely,
Nick Cavarra
Sunday, April 6, 2008
Sweeny Todd at the Ahmanson
That being said, it was wonderful to be in the theater and be challenged to concentrate on what was being delivered. This was not a Disney film turned Broadway musical that we know the ending before we start. This was an evening of clever surprises to what was coming next. Questions like, "how are they going to deal with all the blood that can be in this show?" - very effectively handled by slowly pouring a dark red liquid from one small white pail into another in a demonstration of symbolism (something I'm sure the stage hands appreciated). "How will they deal with the usually complicated barber's chair?" - again handled with the deceivingly simplistic use of a coffin, but broken down and arranged in intricate pieces to suggest the horrors to follow - and forces our participation as our imaginations take over to fill in the gory details.
The only detriment to the show in my book was all this thoughtful manipulation made the show almost too cerebral, demanding our respect, but not quite drawing us in. At the conclusion of the piece, I think everyone was duly impressed will all the talents on stage and the precision of the procedure, but my dentist's deft hand also demands my respect, but it still doesn't make my teeth feel better after a deep cleaning.
Dreampeddler
Saturday, April 5, 2008
For pure hysterical laughter... like back in high school and you couldn't stop laughing when you stepped on the upturned rake until it poked through
Recent winners:
1. Her face was a perfect oval, like a circle that had its two sides gently compressed by a Thigh Master.
2. His thoughts tumbled around inside his head, making and breaking alliances like underpants in a dryer without Cling Free.
3. He spoke with the kind of wisdom that can only come from experience, like a guy who goes blind because he looked at a solar eclipse without one of those boxes with a pinhole in it and now goes around the country speaking at high schools about the dangers of looking at a solar eclipse without one of those boxes with a pinhole in it.
4. She grew on him like she was a colony of E. Coli, and he was room-temperature Canadian beef.
5. She had a deep, throaty, genuine laugh, like the sound a dog makes just before it throws up.
6. Her vocabulary was as bad as, like, whatever.
7. He was as tall as a six-foot, three-inch tree.
8. The revelation that his marriage of 30 years had disintegrated because of his wife's infidelity came as a rude shock, like a surcharge at a formerly surcharge-free ATM machine.
9. The little boat gently drifted across the pond exactly the way a bowling ball wouldn't.
10. From the attic came an unearthly howl. The whole scene had an eerie, surreal quality, like when you're on vacation in another city and Jeopardy comes on at 7:00 p.m. instead of 7:30.
11. Her hair glistened in the rain like a nose hair after a sneeze.
12. Long separated by cruel fate, the star-crossed lovers raced across the grassy field toward each other like two freight trains, one having left Cleveland at 6:36 p.m. traveling west at 55 mph, the other from Topeka at 4:19 p.m. traveling east at a speed of 35 mph.
13. They lived in a typical suburban neighborhood with picket fences that resembled Nancy Kerrigan's teeth.
14. John and Mary had never met. They were like two hummingbirds who had also never met.
15. He fell for her like his heart was a mob informant, and she was the East River.
16. Even in his last years, Granddad had a mind like a steel trap, only one that had been left out so long, it had rusted shut.
17. The plan was simple, like my brother-in-law Phil. But unlike Phil, this plan just might work.
18. The young fighter had a hungry look, the kind you get from not eating for a while.
19. He was as lame as a duck. Not the metaphorical lame duck, either, but a real duck that was actually lame, maybe from stepping on a land mine or something.
20. He was deeply in love. When she spoke, he thought he heard bells, as if she were a garbage truck backing up.
Thursday, April 3, 2008
Wednesday, April 2, 2008
Jott.com
Tuesday, March 25, 2008
Los Angeles, the New Broadway?
The Center Theatre Group, which runs the Ahmanson, Kirk Douglas and Mark Taper Theaters here in LA, just announced they will be doing not one but TWO original musicals this season with an eye toward taking them to Broadway. Previously discussed here, 9 to 5 with music and lyrics written by Dolly Parton, and now Minsky's, the new title of the Charles Strouse-Susan Birkenhead musical comedy once known as The Night They Raided Minsky's. (see Playbill article here). Factoid, Casey Nicholaw and I did Scarlet Pimpernel together.
These are just the latest editions of The West Coast Broadway Pipeline. Curtains started at the Ahmanson, as did The Drowsy Chaperone. And just drive south on the 405 for a bit to La Jolla Playhouse where they gave birth to Cry-Baby (Braodway bound in 2008), The Farnsworth Invention, Jersey Boys, 700 Sundays, Throughly Modern Millly, Jane Eyre, The Who's Tommy and many others.
Oh and drive just a bit further down the 405 to The Old Globe where they premiered A Catered Affair, Dr. Seuss’ How the Grinch Stole Christmas!, Chita Rivera: The Dancer’s Life, The Times They Are A-Changin', Dirty Rotten Scoundrels, and The Full Monty, among others...
So what is it about LA or Southern California for that matter? Are original musicals or plays suddenly in the drinking water? Has all the New York talent moved to the beach for the weather? Yes, and no.
Dig just a bit further and you'll see the real reason why all of these Broadway shows are coming from the regions - Regional theaters are the only game in their respective towns. On any given night in New York, there must be at least 20 Broadway shows, 30 off-Broadway shows and every other media attraction that all the major cities have like movies, dining, etc. However, most of the New York theater shows have single producing entities that don't mitigate risk with investment over multiple shows. It's like a bunch of mom and pop shops, each having to compete against all odds.
Not LA. Everyone in LA knows that if you're going to go to the theater and if it is not at the Ahmanson or perhaps the Geffen, odds are it is NOT going to be good. And when I say NOT good, I mean, it will probably SUCK. Not always and I love it when I am pleasantly surprised, but odds are pretty good it will be pretty bad. So that leaves CTG as the only game in town, and this town has some serious money. So the money goes to the CTG in the form of subscribers. They know the shows will be well funded and produced (if not necessarily good) so they pay the price for the guarantee.
The other important characteristic about the surrounding environs of these theaters is they are in uber-affluent regions loaded with people with lots of money. I did not say these folks are foolhearty enough to throw some money into a show and roll the dice. No, these folks are the ones who have made very good livings in the non arts world (where else), who can actually afford to buy subscriptions series tickets and then fill in that seldom used line on the form that says "additional amount to support the theater." Not only do they add a bit of extra on that line, they also bring their friends as their guests and frequent the restaurants and bars either in or around the theater. These folks are worth their weight in GOLD.
These subscribers and art angels are the reason CTC, The Old Globe and La Jolla can produce and fully fund 1 out of 8 or so productions that they mount. The annual budget for CTG last year was somewhere around $32M, for The Old Globe revenues reached nearly $38M and for La Jolla, revenues were around $10M. The subscribers are the folks that contribute the most to those figures and each of them are happy to see the standard road tours that come through each of these houses (already vetted on Broadway) but they are even more happy when one of their original shows becomes the next hit on Broadway.
All I can say about this, is God bless 'em. Without these angels, we would see nothing but mermaids, dancing plates and singing lions on the stages of what used to be the Mecca for Theater Arts. Now it is often just a road stop for productions envisioned and created elsewhere.
Wednesday, March 19, 2008
Interview with Jim Hindman - Miracle or 2 Productions - Liscensing and Development Company
Just a quick break from the chapters Ed has been busy writing. Jim Hindman, Co-Executive Director of Miracle or 2 Productions, and fellow cast member from way back in The Scarlet Pimpernel, did an interview for the site while we were working on getting Fanny Hill up in Ohio. As their website says, Miracle or 2 Productions is a theatrical licensing company based on 42nd Street overlooking Times Square in New York City. They offer a wide range of options for theaters - from plays to musicals to revues. Whether you are seeking something large or small, edgy or for the family, for any time of year or for Christmas, they have the perfect show for you!
Jim is also a very talented writer and performer.
Dreampeddler: What exactly is the mission of Miracle or 2 productions?
Jim Hindman: At Miracle or 2 Productions we want to focus not only on licensing new shows, but also to take part in their development. Finding a theatre that is willing to take a risk on a title they don't know. Because we have personal relationships with these theatres, it makes it easy to talk to them and find out what their audiences want. We've even gone as far as starting a tour. This way a few theatres got to share the cost of the new show.
Dreampeddler: Why did you decide to get into the catalogue business when the 2 big ones seem to have a corner on the market? Samuel French and New Dramatists. Did you feel there were authors out there who were either being under served or completely looked over?
Jim Hindman: That's exactly why. There are so many wonderful writers out there that are not being served. This will give them a chance to have their voices heard. Again, the big companies focus on just the licensing, we focus on the development AND licensing.
Dreampeddler: How many shows that you represent have actually had stock or amateur productions?
Jim Hindman: I would say by now most of them have gotten productions. And even if the theatre 'passes' on a certain show, we can show them another one by the same author. We have also worked on Theme Park Shows that are not in our catalogue.
Dreampeddler: Do you actively seek out shows for your catalogue? And do you recommend that authors submit to you? Do you even take submissions?
Jim Hindman: Usually we ask people to email us and tell us a little bit about the show and themselves. If we are interested, we will contact them for a script. Sometimes it has less to do with their show and more to do with what we have on our plate at that time.
Deampeddler: How much Corporate Show work do you get as a percentage of the whole?
Jim Hindman: I would say the Corporate Shows are about 15% of what we do. They are always great to have because of the money they bring in.
Dreampeddler: Do you still have day job work or is Miracle or 2 the only company work you need to do now?
Jim Hindman: My 'day job' is acting in MARY POPPINS. I'm not sure I'd ever want to give that up. I actually get a lot of creative ideas and make great contacts staying in the theatre. And Ray is very busy directing around the country and in New York.
NOTE: RAY RODERICK is the other Co-Executive Director of Miracle or 2 Productions. he is also a Writer/Director/Choreographer.
Dreampeddler: Are you and Ray still actively writing your own projects? If so, tell me a little bit about them?
Jim Hindman: Yes, we are still writing. We have a show called COMING TO AMERICA - It's five short vaudeville musicals telling the stories of immigrants arriving in America at the turn of the century and how they changed our lives. We also have one called THE BIKINIS. This is about a girl group from the 60's getting together again after thirty years.
Dreampeddler: Are you performing anymore?
Jim Hindman: Aside from MARY POPPINS - Yes, I was just on LAW AND ORDER. I recently filmed a new show for television called BLUE BLOOD. I did a small part on RESCUE ME.
Thanks again, Jim. Best of luck with all your projects!
Thursday, January 31, 2008
Melody Moore, the new Fanny at Kalliope Stages
Dreampeddler: Congratulations, Melody, on being cast as Fanny in the Kalliope Stage production of Fanny Hill. As the original producer of the show in New York, I know how challenging the role of Fanny is. What do you feel is the most exciting part of playing Fanny for you?
Melody: The most exciting part of playing Fanny is that this character gets quality stage time with EVERY character/actor in the show! As an actor, getting to work intimately with so many different people can challenge you and help you grow. Through Fanny I also get to portray a woman that goes through a very significant transformation. I'm very excited to bring this to life on stage!
Dreampeddler: What do you think will be the most challenging part of playing Fanny?
Melody: Ed Dixon wrote a very challenging vocal score for this character. My vocal chords are literally being stretched to places they have not gone in years!
Dreampeddler: Ed no doubt is a master at writing music that is intricate yet melodic. I think his best talents shine when he writes duets, trios and choral numbers, as he has a real talent for writing intertwining harmonic lines with multiple characters. Only in a musical can you have more than one character "speaking/singing" at the same time and still understand what is going on.
This is a return engagement for you at the Kalliope Stage having played Queenie in their last year's production of Wild Party. What is it like to work at Kalliope Stage?
Melody: I have grown more as an actress at Kalliope Stage than I have working ANYWHERE. Paul always hires amazingly talented people to be part of the Kalliope family. This includes production staff, artistic staff as well as the actors and musicians. To work with them is a privilege. He also creates a very safe space that is focused on bringing out the best in everyone. The size of the theatre is very intimate as well and it forces the actors to be truly honest in their work. There is nothing like being able to reach out and touch an audience member...literally!
Dreampeddler: I understand you live in Manhattan with your husband. Are you from Manhattan ? Are you there to pursue Musical Theater?
Melody: Yes, I live in Manhattan with my husband and our little schnauzer, Mozart. I am originally from Carbondale, Illinois where I attended Southern Illinois University and graduated with a degree in musical theatre. Yes, I am in NYC to pursue a career in musical theatre and after six years am FINALLY getting some nice juicy Broadway callbacks! I have also been taking a fantastic acting class the past three years with Craig Carnelia. My husband is a singer/songwriter and it's wonderful to be able to pursue our dreams in NYC together!
Dreampeddler: I have heard nothing but amazing things about Craig Carnelia's class. I love a lot of his music and back when I was still acting, I would sing "Diamonds" his song about baseball. Got a lot of gigs with that song. He is a wonderful talent.
Thanks again to Melody for taking the time out of her busy rehearsal schedule to answer some questions. Tomorrow is Feb. 1st and they will be down to 2 weeks before opening!
Break a leg!
Sunday, January 27, 2008
Fanny Hill The Musical at Kalliope Stage
I love the spirit of these guys and their positive attitude toward the real challenges out there to run a professional theater in Cleveland. The same problems arise for all theaters everywhere, where do we get our audience and where can we get funding? As Rex said, maybe we should all start selling our blood! And we all need to get more sleep!
Dreampeddler: Tell me a little bit about yourselves.
Paul: Besides rehearsals for Fanny I also work in the education department for Opera Cleveland. Its a wonderful program . I teach master classes to college students. We spend a day with the students from the theater, music and dance departments and create, rehearse and perform an operetta in a day. It is a very rewarding program. It really keeps my skills sharp.
Rex: By day I am an Engineer with a large company in Ohio where I am a mentor and engineering administrator. That is how I get money to pay our bills. Also during the day I manage the theater as best I can, sneaking in a few mins. here and there to put out fires and deal with business concerns between the projects I have with my employer. All my nights and weekends are spent running the theater. I average 3 to 4 hours sleep a night. I am an officer on the board of trustees of Kalliope Stage as well. I am not a paid employee of Kalliope. I do this for Paul and the love of theater.
Dreampeddler: How have rehearsals been going for your production of Fanny?
Paul: Things have been a little hectic on my end. Fanny is going great. The cast sounds amazing. I start blocking this Sunday. We are going to do a sing through of the show today. Melody is going to be wonderful as Fanny. She has the right balance of innocence and sass. She is so like able on stage. The cast seems very excited about working on the show. A lot of development in character is happening already. We work around the table daily to get everyone working in the same style. We are having a lot of fun developing through the phrasing of the music. Adrienne Brockway is doing production design for the show. Sets, lights and costumes. She is building all the costumes from scratch. She is working her tail off at the moment. When I first read the show last spring I just loved it. I laughed out loud. Once I heard the music I was sold. I had to do this show. It has a wonderful sense of operetta, pastiche, sex farce as well as comedia. As always we are working to find the truth as well as a style appropriate for the show. I think Fanny is a wonderful cross of Candide and Gilbert and Sullivan operettas. I am working for a fast paced seamless production. We need to take the audience on a ride. I welcome the challenges this show gives me as an artist.
Dreampeddler: How many people do you have on staff?
Rex: Staff is very expensive and not easy to find that is self motivated and cares about the company. We currently do not have any paid staff and only a few dedicated volunteers including myself. We used to have one hired office person that handled box office, communications, minor levels of accounting and facilities housekeeping. Since the down turn in support for the arts in Cleveland we found it necessary to lay her off. I now do all that too!
Dreampeddler: Where do you find your actors and actresses? Are they NYC transplants? Students? Recent Grads?
Paul: For Fanny Hill we have an incredible cast of New York and Cleveland actors- the best we've had at Kalliope to date. Melody Moore, who played Queenie last season to rave reviews in our production of Andrew Lippa's Wild Party, is Fanny, and Erin Stewart and David Dewitt are joining the cast as Phoebe and Charles. They both come to us after completing a national tour of Phantom of the Opera as Christine and Raoul. Jared Leal, who player Billy Bigalow in the national tour of Carousel, is playing Will, and David Vosburgh, who was in the original cast of A Little Night Music and the revival of 1776, is playing Croft.
Dreampeddler: Where do you find funding for your organization?
Rex: Besides contributing constantly myself sources are varied. I have not started selling my blood yet.
Thank you guys for your candid responses. I look forward to speaking to more of the cast and following your production up to opening night on Valentine's Day!
Dreampeddler
Thursday, January 24, 2008
Teaser
1) Behind the scenes run up to the opening of Fanny Hill in Ohio at the Kalliope Stage. Fanny's First Time in the regional theater market. Interviews are underway with the creative staff and cast. This will be a great play by play for getting a show up and running. Should be a lot of fun.
2) I will be running a new feature on the blog with my dear friend Ed Dixon. There are 2 kinds of famous people out there, one being the celebrity that is known by legions of fans and exposure but has probably had little interaction with all the people who know them, and then there are those folks that literally KNOW legions of people, have actually worked with them and interacted with them. Ed is one of these people. And the stories he can tell about all of these legions, both famous and infamous, are amazing. Well we will be sharing those stories here on the blog under the new feature, "How do you know Ed Dixon?" (working title). This will be a blast. Check out his site at http://www.eddixon.biz/
3) I interviewed DJ Salisbury in December about his upcoming project Super Chix. They will be having a performance of the piece at the Zipper Theater on February 1st. Check out the following facebook event page for more details, http://www.facebook.com/event.php?eid=7919778004&ref=mf
See you again soon!
dreampeddler
Wednesday, January 16, 2008
First Regional Production of Fanny Hill
If you are in the area, go to the tickets page on the Kalliope Stage website and enjoy!
Opening night is Valentine's Day, 2008, exactly 2 years after our premiere in New York City!
As producing theater is a collaborative effort, one of the ways we get Fanny Hill out there for regional productions is through Miracle or 2 Productions. They have a catalogue of shows that they represent including Fanny Hill and another of Ed Dixon's shows that I produced, Richard Cory. I am going to interview the founders of Miracle or 2 soon so they can explain exactly what it is they do and how they develop relationships with all these great regional theaters.
Stay tuned and...
BREAK A LEG, FANNY IN OHIO!
dreampeddler
Thursday, January 3, 2008
Striking 12 - Amazing
As for some movies Steph and I saw while we were there, both Sweeney Todd and I Am Legend are worth their ticket prices. Especially if you go see Legend on the IMAX. Always very cool to see an action flick on that big of a screen.
Am diving into 2 new scripts for writing, so my posts may become limited over the next month, but if I see something good or hear of a great new piece, I will let you know.
Dreampeddler