April 6, 2008
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
Monday, April 7, 2008
Sunday, April 6, 2008
Sweeny Todd at the Ahmanson
The show is the star in the new Sweeny Todd tour that came through the Ahmanson that I saw last night. Although there are some terrific performances in the piece, especially Judy Kaye in the deliciously devilish roll of Ms. Lovett, it is really the mind's eye of the designer/director John Doyle that shines through. And thank goodness. This is a very stylish, thoughtful piece that manipulates you down to every beat. This can only be done with a show that has a history of success and an already solidified pedigree in our consciousness. It seems to have come from the "let's do Richard III as if it were taking place in Natzi Germany" or "let's do a take on Romeo and Juliet that takes place in LA with fast cars, automatic weapons and beautiful youth." If we were not already familiar with the storyline, I am not sure we could appreciate all the thoughtful "variations on the original theme" that are taking place in this version.
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
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
Every year, English teachers from across the USA can submit their collections of actual analogies and metaphors found in high school essays in order to have them published and sent out for the amusement of other teachers across the country.
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.
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
This is just a quick post about Jott.com. This is amazing new service andit is free on the internet, so for all you bloggers out there, all you have to do is speak into your phone and it will post automatically to your blog site. Pretty amazing stuff. Also, will work great if you have a family - especially kids - and you do not wanna do texting while you're driving. Jott.com is hands free, just call the toll free number and speak your message, so it's hands free. The voice recognition software from Jott will send them the message as a text message. You should check it out, Jott.com.
Tuesday, March 25, 2008
Los Angeles, the New Broadway?
If you want to see a Broadway show, go to LA. Okay, you can beat me now for those blasphemous words. We all know LA is a movie town and nobody here cares about theater, except if you're an actor and you want to do Hamlet as a showcase in a 99 seat plan theater so casting directors can come see you - which they never do. But...
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.
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
Hello all,
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!
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!
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