Practical advice for the performing arts

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Update and Refresh, Vol. 2: Final Draft 8? How About Something Else?

(Belated) Happy New Year, folks! (Jesus, the month of January is almost over, it’s about damn time I wished you one.)

As stated in the previous installment of this series, in this blog’s (sadly more frequent than I would like, but hey, that’s life) downtime, I’ve done a lot of re-reading, taking stock, assessing, re-calibrating even. Looking back over the past four years of its existence, there’s a lot of “practical advice” on this blog that I would not be nearly so regimented about now; on the other hand, there are a lot of ideas, specifically where my directing and business proposals are concerned, that have been refined and polished. So, I’m taking a second look at some items where my initial instincts have evolved over time and restating my thesis, as it were.

Since the last installment was about script formatting, I figured I’d stick to that general subject and talk about screenwriting software as I ease my way back into not just this blog but this series. Shall we?

Update and Refresh, Vol. 1: Formatting 101 Revisited

Hi, everybody. How ya doin’?

So… a lot has gone down since I last wrote here in [checks notes] January? (Yikes, I’ve really let cobwebs gather over here.) Among them…

  • My podcast, A Good Nightmare Comes So Rarely, which — as you may recall — concerns itself with the downfall (and possible return) of the notorious Broadway flop Dance of the Vampires, now has two episodes out, and many more to come! (On a mildly related note, the CDAN blind item is about us, but we’re not ready to comment just now.)
  • For years, many of my friends have told me that with the depth and breadth of my knowledge of certain musicals, I should write a book. Many of them particularly pestered me for a definitive study guide to Jesus Christ Superstar, not from a behind-the-scenes history perspective, but similar to the student materials that MTI and other licensing houses hand out. I resisted for a long time… until I couldn’t anymore. You can visit this link to read Impressions of a Crucifixion, an in-depth guide to JCS for performers, directors, and passionate enthusiasts. I welcome all responses – questions, critiques, comments, you name it. It feels like I’ve been writing this book for most of my life because, in a way, I have. I hope it was worth the effort!
  • On the production front, things are continuing to percolate; as of September, I’m in my 18th year of “almost fame.” Richard and I recently made a solicited Netflix submission, and we’re actively scouting financing for other projects, both stage and screen.

But more importantly, I’m returning to this blog, because in its downtime, I’ve done a lot of re-reading, taking stock, assessing, recalibrating even. Looking back over the past four years of its existence, there’s a lot of “practical advice” on this blog that I would not be nearly so regimented about now; on the other hand, there are a lot of ideas, specifically where my directing and business proposals are concerned, that have been refined and polished.

And thus, my new series: “Update and Refresh.” I’m going to take a second look at some items where my initial instincts have evolved over time and restate my thesis, as it were.

I’m starting with some low-hanging fruit: script formatting.

Resource for Writers: Final Draft 8 (Abandonware)

Hello, shiny happy people! It’s almost [fill in your winter holiday] time, and it is customary at that time of year to receive gifts. I’ve decided to make all of my readers who write very happy by giving you a gift that might be of actual use other than entertainment or knowledge — free software.

About the Program

You may well have heard of Final Draft, the #1-selling screenwriting software in the world. It combines powerful word processing with professional script formatting in one self-contained, easy-to-use package specifically designed for writing and formatting a screenplay to meet the screenplay submission standards set by the theater, television, and film industries. It can also be used to write other documents such as stage plays, outlines, treatments, query letters, novels, graphic novels, manuscripts, and basic text documents.

Do you know what other feature Final Draft has? A ridiculous price tag. The newest version, Final Draft 11, is at least 250 bucks, and that’s just on the website! An upgrade from an earlier version is similarly unaffordable for most starving authors who don’t have $100 American burning a hole in their back pocket.

So, being a generous man and it being the holidays, I have for you a proposition: I can instruct you how to get a free copy of Final Draft 8, an older version. As Final Draft has stopped offering support for any version that isn’t 10 or above, I reckon that a few copies of Final Draft 8 going out won’t hurt anyone’s bottom line. So let’s hook you up with your free abandonware!

Disclaimer(s)

Now, before I begin, a disclaimer is necessary. This blog does not encourage piracy. No files are hosted on our server; this blog post merely indexes the contents of other pages, much like any search engine. The hosting server and the administrator are not responsible for the content of any linked sites or changes/updates thereto. All linked content — and instructions for its use — is intended for backup and/or educational purposes, and private use, only.

With the legalese out of the way, a more informal disclaimer is also (in my opinion) necessary. If you can afford Final Draft 11, get Final Draft 11. It’s trusted by 95% of film, television, and multimedia professionals for a reason. More than that, it has lots of brilliant features which are simply not present in Final Draft 8 that make it well worth the purchase price. If you’re a professional or student with money in your account, don’t be a leech. But if you’re just a beginner, or this is purely for a hobby or fan effort, then stick around. It shouldn’t cost money to have fun. Besides, Final Draft 8 only dates back a few years and still has much of the functionality of its later descendants, and the main differences are little more than modifications, additions of features (albeit brilliant, useful ones), or UI changes. (The most important difference is that, unlike newer versions of the software which are activated similarly, Final Draft won’t be able to lock you out because it’s a… freely obtained… copy.)

So, let’s go for it!

Presets You’ll Need

To install Final Draft 8 (and make it work), you will need:

  • Some means of extracting from zipped files. It’s a painless process so long as you have this. For Windows users, I recommend WinRAR. For Mac users, WinRAR is available to you, but only in command line style, so if you’re not a programmer and that’s not something you’re ready for (i.e., more used to a GUI), I recommend UnRarX.
  • OS X 10.6.6 or later (for Mac users only)If you don’t have that, you’re kinda screwed. Sorry.
  • Some means of opening executable (.exe) files (for Mac users only; Windows users are all set). This handy dandy WikiHow link should help you open a .exe file that’s a key component of this operation.

Instructions

  1. Download the trial version of Final Draft 8 to install it on your machine. In my infinite wisdom, I’ve made this easy for you. Final Draft 8 for Windows can be found here, and Final Draft 8 for Mac comes in three parts (click each word).
  2. Download the .exe file necessary to help activate the program. It can be found here.
  3. All parts being assembled, install the trial version of Final Draft 8. There should be a box checked off to automatically launch it at the end of the installation. Unless you’re just getting started and have other stuff to do, leave it that way; you need to launch it automatically for the next step. At the same time, open the .exe file from step 2. You’re about to need it. Don’t close it at any point during this process until I tell you you’re done. (If your virus protection throws up a warning that can be dismissed, do so. The file itself, at least in my experience, is harmless.)
  4. When Final Draft 8 opens for the first time, a little window should pop up asking for your 8FD Customer Number. In the program that the .exe file has opened, press “Generate” next to the empty Customer Number field. It will spit out a Customer Number for you. Enter that into the relevant field in the Final Draft 8 window, and click “Activate,” which will open a window for the activation process.
  5. At that point, rather than choosing “Online Activation” (it won’t work), choose “Manual Activation.” A new window will load listing the Customer Number you used, a Challenge Code, and a blank field for a Response Code which you would normally obtain by calling the listed phone number. I cannot stress this enough: Do not call the listed phone number.
  6. Enter your Challenge Code in the empty field for it in the program that the .exe file has opened, and click “Calculate.” It will spit out a Response Code for you. Enter that into the relevant field in the Final Draft 8 window, and click “Activate.”
  7. You’re done. Congratulations! You’ve activated your copy of Final Draft 8, and a blank page will open, ready for writing. Be sure to read the tutorial so that you master the keyboard shortcuts and all the extra steps for writing whatever it is you intend to write. There’s no need to register (it may not work anymore anyway thanks to the existence of subsequent versions) – the product will work just fine.

Happy writing, and Happy Holidays!

PSA to Writers: Know Your Rights!

Today is a very special blog entry. It was going to be the start of a fresh installment of “Ask Me Anything,” but this question is so important that it merits a singular post. First, a little backstory, and then the meat of the dish. Shall we?

In addition to my many gigs in the outside world, I wear more than a few hats on the Internet. Among them, I help administrate the number one online fan community for Jesus Christ Superstar. Our discussions about JCS are pretty wide-ranging, and they often involve the level of creative control that Andrew Lloyd Webber exercises over current productions of the show. This led to a question from a composer/performer named Andrew J. Simpson, who, in addition to conducting interviews with JCS luminaries for the site, is one-half of the duo GASM, which specializes in thematic rock (by which I mean three-quarters of their discography is concept albums).

Simpson would be the first to admit that he’s not particularly savvy when it comes to the business side of the arts, but I’m always happy to help when he has questions. Remember, everyone — there are no stupid questions, only questions some of us already know the answer to. The quest for knowledge includes confusion and involves learning, and just because one person may know less than others, doesn’t mean they should be afraid to ask. Pretending they already know won’t always serve them well, and isn’t the most effective way to learn.

Simpson’s question was as follows:

I’m curious. Let’s say you’ve written a show and got it produced. You’re the author (or co-author) of said show. How much control over the show/final product do you have or want? Do you want to be at the auditions? Do you have an idea for who directs the show? Do you agree with the concept of the director? Will you be allowed at the rehearsals? These and other such questions. Or… Do you just want to give the script to the producers and say “Have at it. I’ll see you opening night”?

Simpson, in a forum post

(For context, his question was spurred by the eternal debate over whether or not Lloyd Webber’s control over new productions of JCS has been a tad overbearing. I think that stems from the original Broadway production, where several factors were the opposite of what he and Tim Rice wanted. Funnily enough, this is a great illustration of the point I’m making with this post: they were new to the process, and probably unclear on how best to exercise the rights afforded to them. Rice and Lloyd Webber were dealing with an unprecedented level of success and had so much other stuff on their plate that they didn’t take full advantage of the rights they had, assuming they knew them to begin with. A producer like Robert Stigwood, well used to the artist/manager model of the music world, was probably all too happy to assume unilateral control in their absence, and not always to their benefit.)

Back to the topic. As a working producer, I thought it important to answer Simpson’s question, but I noticed the way his question was worded indicated he may not know the basic rights all writers have. Indeed, it may be a common question for writers new to musical theater, and how much control they’re able to wield.

In theater, you only get a certain amount of creative control if you’re not steering the ship, so to speak. To make your choices about every aspect of production the final word on the subject, you’d have to produce your project yourself, like Lloyd Webber and Really Useful. But the important thing to know is that you’re allowed to make choices and that your opinion as the author holds weight. Take a look at his question again. He doesn’t seem to know that the type of creative control he’s treating as optional, or at some producer’s whim, is guaranteed to him.

There’s a level of compromise when it comes to every decision, as in any collaborative process, but it’s part of an author’s rights to have the approval of any script alterations, attend whatever steps of the process (auditions, rehearsals, previews, opening night) that they choose, approval of the cast and creative team and the director’s concept, etc. Anybody who says you can’t do that is violating the basic rights accorded to authors. (The Dramatist’s Bill of Rights, prepared by the Dramatists Guild, is important to note — all of this is covered in the first three.) How much or how little you use of those ingredients is up to you, but they are part of the recipe.

Don’t get me wrong, there are times when these prerogatives won’t be as important:

  • Say that you’ve become a success already, and you’ve worked with a producer or creative team so often, and it’s gone so well, that you know it’s in good hands. After the initial selection process, you may opt to stay out of the way.
  • Or let’s say your show is so successful that it’s being revived. First of all, congrats! Secondly, unless sweeping changes are being made, you only need to weigh in as necessary; your show already has an established reputation, so you don’t need to be “hands-on” like with the very first production.
  • There’s also plain old stress. Being present at absolutely every turn of events in the production is impossible. It’s easier on a smaller scale like in readings, workshops, or labs, but the bigger the production gets, when you can easily have a hundred people or more working on the show, the more you simply don’t have time to focus on everything. That’s okay, as long as you have time to focus when it counts.

The only sin is to remain ignorant of your options, especially willfully so. Some people, for whatever reason, don’t give a shit — a low point in their career, a show they don’t feel they put their best effort into so they don’t care if anyone else does, etc. Or they feel that shouldn’t be their job; it should be looked over by someone else with their best interests at heart. Sorry, hon. Sometimes your biggest champion is you.

Don’t throw caution to the wind, be you new to the process or an old hand. Know your rights. Talk to someone at one of the following links. They’ll be happy to help.

…to mention just a few. Seek out resources in your area as well!

National Coming Out Day: A Self-Reflection

(The author of this blog nervously shuffles into the room, where expectant faces await him from a circle of chairs, some with a marked undertone of resentment.)

Hi, everyone. It’s been a bit since I used Ars Pro Concreta as a soapbox for practical performing arts advice. Life in the form of my day job, my side gig, finally having active social interaction regularly, and just plain lack of a sense of direction for the blog has gotten in the way.

However, I’ve got something personal I’d like to share with you today, since October 11 is National Coming Out Day. Namely, it’s the story of how I came out, my early missteps in romance, and where I stand about stuff like the relevance and importance of Pride celebrations. If you want to loosely tie it to the arts besides their being my profession and my life, consider this my audition for Paul from A Chorus Line. That description, though tongue-in-cheek, is accurate to a certain extent, as you’ll soon discover for yourself.

(Also, minor warning: I speak in traditional gender norms for much of the post as it pertains to recounting my life experience. As far as I’m concerned, trans women are women, trans men are men, and there’s room for everyone in this world wherever they fall within — or without — the binary, but it wasn’t a concern in my head at the time I lived these experiences. If it seems exclusionary, it was, but it was a lack of knowledge at the time, not a willful omission, on my part.)


I was in the range of 7 to 9 years old — single digits, at least — when I met the first guy I ever fell in love with. I’ll call him Roxy since I always kind of felt like the Cyrano to his Roxane. We were close enough that we considered each other family (and I remained on good terms with his family for the longest time, even through some of the events I’ll be talking about shortly), but I could tell my feelings were something more, especially when I began admiring his physical form (specifically his ass) during sleep-overs, though what that “something” was I couldn’t define until I was a little older.

I’m not 100% sure if it was because of my crush on Roxy, but I remember getting very upset when other kids at school called me gay as an insult (as kids did back then), and confiding in my mom, who was trying unsuccessfully to calm me down, that I was only so emotional about it because I thought they might be right. She was doing what she thought was best, and certainly not homophobic in her intention, but she shut me down: “Would you love a man? Would you hug and kiss a man?” Well, no, and I told her so, but in my head, she was asking me about a grown-up when she said that, not about someone my age. I didn’t get crushes on grown-ups. Ew! (Still not fond of significantly older men to this day; some stuff never changes, I guess.)

But life goes on, and when you’re a clueless teenager, shit happens. I first came out in eighth grade, in the middle of creative writing class, and it was assuredly not meant to happen. I had, and still have, an awful habit of starting a train of thought in my head and finishing it out loud. This was one such occasion; namely, I was puzzling over confusing feelings about both guys and dolls (see, keeping it theater), because kids think in very binary terms once that’s been introduced to our thinking. I knew I was into dudes, no denying it, but I was confused that I got along with women and could appreciate their beauty. My limited experience from exposure to straight men was that they liked girls and they hated the thought of being with guys to the point of disgust, so I assumed a gay man was supposed to be the exact “vice versa” opposite. From this, I (mistakenly, as it later turned out) concluded I must be bisexual. And that was the part that came out of my mouth in a room full of judgmental assholes, as most people are in their early teens. Worse, a classmate overheard me, and the problem was compounded when I repeated it without thinking when she asked me what I’d just said.

After an initial hubbub of attention and nonsense that died down when I never actually “dated” a guy and tried to pursue what I thought were crushes on girls, complications were added on top of complications as the next few years rolled by. Among those complications, what I’ll call “stuff” started happening at sleepovers with Roxy. And it continued, growing increasingly sexual by the time we were in our junior year of high school. I’m not gonna say it happened every time he slept over, I’m sure there were times it didn’t, but most of the time, and “mild contact” gradually spilled into our waking hours as well. The more this happened with Roxy, the more any presumed attraction to women died off.

He never once complained or gave any indication that he didn’t want to hook up, for lack of a better way of putting it, or that he was uncomfortable with the guy-on-guy stuff, and it didn’t affect our friendship. So, in my naivete, I believed that this meant if I was gay, then he must be gay too. (In retrospect, and in the present day, I respect and accept his self-identification as straight, but honestly, my vote’s in the “bi” category. Nobody enters a massive crisis period like what I’m about to describe if they weren’t frightened by what our encounters might mean about them.) Turned out my mistake was in thinking we were on the same page.

I repeat, with a slight emendation: when you’re a careless, clueless, and horny teenager, shit happens. During a sleepover, assuming everyone else was out like a light, Roxy and I got down to what we usually did. Well, you know what happens when you assume… turned out someone in my family saw some stuff they shouldn’t have. More than that, it was someone who wasn’t known for exaggeration, so if they told others, I couldn’t get out of it by saying what they saw didn’t happen without being utterly disbelieved by everyone, or, worse, without the story getting back to adults (and as a teen, though some of my family knew about my orientation, I didn’t consider my escapades their business). So when this relative raised the issue to mutual friends because who the hell else could they talk to, and these friends asked me about it, bearing the above in mind, I decided not to deny what was going on.

This was a big mistake. Roxy was not interested in confirming any of this. My once-constant friend went completely berserk for a few years — distanced himself from me for a long time for “trying to bring [him] down with [my] shit,” became a substance abuser, a thief, and a klepto (in no particular order), and had a series of increasingly unsuccessful relationships with women.

(Postscript: Joining the military straightened him out some — no pun intended — and he’s now married with two kids, one of whom I was supposed to be the godfather. I remained close to his family for a long time, at least until political differences drove a deep fissure into our relationship, and reestablishing contact was probably easier than being awkward around me. We don’t talk about back then, and we’re not nearly as close as we used to be, because time and distance wound all heels, as John Lennon once put it.)

I wish we’d at least been able to talk about it, unpack how we both felt, and proceed from there; I feel like the friendship could/would have been a lot stronger as a result. But, aside from occasionally wondering what might’ve been had he been a little more secure about being bi, that’s my only regret. Sexually speaking, I had a good time once I knew what I was doing, and more importantly, he had a good time once I knew what I was doing. I have much deeper regrets about what happened next.


Shortly after I began the long road to accepting that a relationship with Roxy was a non-starter, a road sprinkled along the way with several boyfriends that I wouldn’t consider any kind of serious, sex and the tangled webs we weave with our partners almost wrecked my life.

From the time I was in third grade, I’d been friendly(-ish) acquaintances with a guy I’ll call “Tom” (not his real name). We grew up a few streets away from each other in the same neighborhood, and while I wouldn’t call us close per se, we got along and knew each other pretty well. I always suspected he was gay, but I never let on. In high school, our social dynamic changed. He wasn’t really in the popular crowd; for that matter, neither was I. But we considered ourselves on opposite sides of the fence because we disagreed (high school, I find, always brings out the most unpleasant side of people). We’d spar at the lunch table, trading barbs and wisecracks like a couple of bitter old queens. (I remember that his term of endearment for me was “smegma bucket,” which gives you some clue of the quality human being he was; that said, I don’t fault him for this particular sin, as he and one of his female friends had just discovered what smegma was and so they were using the word in nearly every sentence, like a toddler who’d learned a swear.) Now and then, I’d write him, trying to rekindle the friendliness, or at least clear up that I didn’t mean the shit I said and I hoped he didn’t either, to zero response. One time, on a desperately lonely night when I was horny and knew he lived nearby, I took the risk. I asked him if he was gay and he denied it.

During my issues with Roxy and attempting to figure out what was going on with Tom, other stuff was going on in my life, including my mother’s divorce. I couldn’t control what someone else did to us, but I also couldn’t help feeling that maybe there was something else I could’ve done. I developed a self-destructive personality. A lot of things happened that I had no control over; sometimes I made the wrong choices just when things were getting better, with disastrous results. A series of those wrong choices was with Tom.

I was dating a guy, “Shane,” who lived a state away at the time, and for reasons I won’t go into, we temporarily lost contact with each other. (That part is relevant, and will come up later.) During that time, a high school chum died in a really bad car wreck, and I ran into Tom at his memorial while I was emotionally distraught, to the point of nearly physically leaning on Tom. That night, he wrote me asking if I wanted to hang out. So I said sure and named a day, and he came over and brought me to his place.

That day, two things rapidly became apparent: Tom was lying when he said he wasn’t gay, and my having a boyfriend seemed no obstacle to his coming on to me. I’d blame it on mixed emotions following my friend’s death, issues stemming from my mom’s divorce, or loneliness because I couldn’t get in touch with Shane, but no explanation excuses what happened: Tom and I began a sexual relationship. I was still technically with my boyfriend, but, during the time he wasn’t able to reach me, I was nearly always over at Tom’s place, messing around, to the point that I was very nearly (according to him at the time, anyway) the first person to “top” him.

There was a reason I chickened out of that, though. Anyone who’s ever been cheated on will say the cheater can’t imagine what their loved one is going through once they’ve found out. I’ll tell you… before Shane ever found out, I was feeling far worse. I’d never been in this situation before, and as fun as things were with Tom, I felt like absolute shit for letting it continue to happen (I say this because I feel like I was never completely in control of the situation; there was a long time in my life back then where I mentally checked out and things had a knack for “just happening”). I cared deeply for Shane (how deeply did not become apparent until much later), and my conscience made a lot of noise. So when it came time to be Tom’s first, an alarm sounded in my head that this was putting things on a far more intimate level than I was ready to accept.

It seemed fate had allowed me an easy exit when Shane reestablished contact, and we concluded that our feelings for each other had died mutually during the time of little to no contact, so our relationship fizzled out, though we didn’t stop talking as friends. You’d think this would mean I could now embark on a relationship with Tom guilt-free, but on top of still feeling guilty about cheating on Shane, Tom didn’t want to make things official because he felt our chemistry in high school reflected the reality of our relationship, and he didn’t want us to tear each other apart. (I suspect it was also less fun for him without the forbidden aspect.) I resented that massive assumption, but I wasn’t going to push the issue, so we both tried to ignore how we felt about each other. Big mistake.

At this time, I was starting my second semester of college, and I was attracted to a guy I’ll call “Neville.” He was a bouncy, eccentric, stereotypically effeminate-sounding fellow, with a stereotypically masculine look (plus or minus the occasional long hair). He was also the type of person you couldn’t help having fun with. (Indeed, long after the events that follow, I still enjoyed his company — assuming he wasn’t being bitchy — when I ran into him in social settings; just the kind of guy he is.) But when I got to know him personally, I learned he had a lot of demons which he camouflaged with his fun-loving personality. More than that, he had a very self-loathing side — he’d seen a lot of the fuzzy end of the lollipop when it came to the LGBT community, at one point referring to himself as an “honest homophobic homosexual.” This young man, starving for positive attention and affection he hadn’t received in childhood, had become easy prey to the awkward roads some of us walk, and developed a negative view of himself and his fellow gays.

I was initially introduced to him by a high school acquaintance as someone I might approach when I was desperately seeking what I’ll call a friend with benefits. They were wrong, and my initial advances — unskilled and blunt as they were — led him to despise me the entire time he knew me, painting me with the same stripe as others who’d used him. With his past, who could blame him? But I was unaware of either his past or his feelings at the time. I wanted him desperately. At the same time, I still had the residual thing with Tom.

The night before Valentine’s Day, 2009, Tom and I were hanging out when Neville reminded me we’d made plans. He’d later paint this after our relations had soured as me ineptly trying to lure him into seduction, but in reality, we’d talked about this for a couple of weeks prior, and had been trying to find a day to get together. I was going to sleep over at Tom’s, a fairly common occurrence at this point, and I figured, “Tom’s a hang loose kinda guy, I’ll invite Neville along.” So I did.

Here’s how that night played out from my recollection: Tom wanted to play “Never Have I Ever,” I didn’t want to drink because alcohol is disgusting to me. Between the two of them, and a little nudging from me and Neville thinking we’d have a kooky drunk to laugh at, the bottle of wine disappeared. As it did, so did any sense that there were sparks for Neville and me. I sensed something growing between them, electricity in the air, but as much as I tried to ignore it and pretend I could deal with it, I could feel the other shoe about to drop. And finally, it did after they went into Tom’s younger brother’s room, where pot was readily available, and we all know what pot does for one’s libido. That night, I found myself in Tom’s bed trying to sleep (and crying quietly when I could manage them not hearing me) while Neville and Tom consummated their new-found passion on a futon on the floor.

In looking back, I realize I was traumatized on many levels by the almost-psychotic rudeness of that act, both in general (you don’t get explicitly sexual with someone if a non-consenting third party is in the room, period, end of report) and specifically (I had feelings for both of them, they knew it, and yet they were the kind of people who cared little enough about that to hook up in front of me).

The next morning I wanted to just leave and forget the whole thing happened. I collected my stuff from various corners of the room. (Neville would later claim I trod on/over them trying to wake them up or make things unpleasant, but things couldn’t get worse than they already were, and I remember my “mission” being to grab my stuff while trying to avoid looking at them wrapped around each other like kids clutching teddy bears. Forcing a confrontation was the furthest thing from my mind; I wanted to avoid waking them at all.) And I left a note along the lines of “You two seem to be happy, I’ll just leave you here. Don’t call me, I’ll call you. Break a leg, enjoy your freak show, au revoir.” Okay, the last one was only in my head, but still… a rational, if bitchy, response to the situation, frankly.

It’s a testament to how fucked up I was about this emotionally, an accurate gauge of how badly this messed with my head, that I immediately followed a rational response with an irrational one: I returned to Tom’s place later that morning. I felt bad about the way I’d left, and that I should show them I was okay with what had just happened! When no reasonable person would be! As it happens, I didn’t get much satisfaction from attempting to be the better person; Tom was hung over and, as far as I know, hardly together enough to think of pretending to be asleep to make me go away, much less doing it, as Neville later alleged was their plan to make me leave. No one said much, although I believe I was scolded for writing the note. Ain’t that a bitch!

If this were a fictional account, I’d make myself a stronger person, pretend I didn’t stick around to watch — and play a part in — what happened next. But that’s not what happened. I was fresh out of high school, a rebel without a clue, and traumatized, and I decided to try to hang on to a friendship with the two people who’d done it. They had a whirlwind, long-term, off-and-on relationship in which they loved each other one moment, but couldn’t stand being together the next, and I was stuck in the middle trying to maintain both friendships. Sometimes I’d even warn them when each plotted against the other because rather than let karma deal them a hand, I felt bad. When it was over, and it often was, Tom always blamed me for introducing them. (Never mind that I’d warned him what he’d be getting into, based on Neville’s track record, and that he’d flipped out, asking why I couldn’t ever be optimistic or happy for him. I felt like responding, “Well, prick, given the circumstances…” I sometimes wish I did.)

At one point in their affair, they were “models” together on XTube. The videos are still up, and not worth watching. As porn goes, it’s amateur hour basically, and I can’t imagine who’d pay for it. But somebody did, because money started coming in, and to administrate their income from it, they started a joint bank account. I don’t care how in love you think you are, it’s a stupid decision — that only crazy kids could make — to start a joint bank account with someone to whom you’re not committed for life, and even sillier to act surprised when one of you continues using it after you separate. I don’t recall specifics, but someone drained it, to the point of issues with the bank; each accused the other and acted surprised such a thing would ever happen to two people who broke up; and Neville, who’d removed the videos at Tom’s request when they were done being “models,” put them back up and used the revenue to alleviate that issue, a plan with which Tom wasn’t thrilled. Meanwhile, I’m sitting there head over heels for both of these ten-grade whackaloons, maintaining the friendship and hoping it’d be my turn next… as Bill Engvall once said, “Here’s your sign!”

Further complicating my emotional state, when Tom and Neville weren’t sniping at each other, they were unloading both barrels on me, playing new, torturous mind games. Example: they somehow befriended Shane, my ex with whom this whole ball of wax began, through the dating site on which we’d met, and I can’t recall whether they genuinely liked him or thought they could hold my past with Tom over my head. Either way, when he came down to visit them (they kept him from seeing me, as I wasn’t talking to either of them at the time, even though he wanted to), they were in the middle of a prickly patch. That night, karma was a bitch and revisited Tom in the worst way: Neville and Shane hooked up on one side of the bed while Tom tried (and failed) to ignore it on the other.

But turnabout was fair play: Tom and Shane hooked up as well, and, even though Tom mouthed off to me about Shane becoming dependent and needy, they began dating. Somehow, that hurt even worse than the first trauma I experienced at Tom and Neville’s hands. I think — rightly or wrongly — I felt I’d have a second chance to do right by Shane somewhere down the line, and that door was slammed in my face because the only thing worse than two people you want to be with linking up is a group of people you want to be with linking up. Soap operas had nothing on this.

Even this I could have lived with, in my fragile mental and emotional state, were it not for the fact that this wasn’t the last time for Tom. He seemed to glom on to every guy I spoke with, to the point that I almost felt like I was being stalked. On at least two occasions, after I started talking to guys, Tom not only struck up conversations with them and dated them, but turned them against me. Finally, like we’d done frequently in what I couldn’t bring myself to call a friendship anymore, Tom and I “had had enough of each other” and separated for — truly — the last time. I haven’t spoken to him in seven years.

As for Neville, I got tired of wishing for things I knew would never come to fruition. When I found an opening to leave that friendship, however immature it may have been (a fight over not being invited to a social occasion I did not expect to be part of in the first place), I took it. I suspect we were equally willing to be rid of the other, and have remained in blissful ignorance of each other’s activities since, barring brief periods when a mutual friend tried to patch things up and we just couldn’t hack it after all the water (and caps locked, profanity-laden rants and slanderous blog entries, on Neville’s part, in the waning days of LiveJournal no less) under the bridge.

So, I had all this energy from fighting to maintain worthless relationships, and nowhere left to put it. What was I to do?


I’d always had an ambivalent relationship with Pride celebrations. The parade — and everything associated with it — looked like a lot of fun, but I’d never really gotten into it, in part due to Tom and Neville’s influence. Whenever I brought up going with them, they dismissed it (some of these quotes are verbatim):

  • “Do you want to be in a place with that many homos?”
  • “I’m sorry, but being in a place with that much rainbow color makes me a little iffy.”
  • “I just feel uncomfortable going to it, it gives me a bad feeling.” (In Tom’s case, that may have been true; until later on in his relationship with Neville, he was still very uncomfortable with explicitly identifying as gay.)
  • “The only reason I go is that friends are there, and trust me, I don’t stay long. Every cheating, lying homo in R.I. is gonna be there. Besides, I’m gay and I hold my head high every day. I don’t need a special day to do it. I don’t see the straights having a straight pride. The way I see it, it’s a way for people to make big fools of themselves.”

So I avoided it. I didn’t feel comfortable going without friends, and my two most actively gay friends wanted no part of it. But once they were out of my life, I took a second look at Pride and — for once — did some thinking of my own.

Why didn’t they have straight pride? Well, that seemed easy to answer, on the face of it: Pride is about awareness, most of all — making straight people aware that LGBT people exist, and are worthy of the same rights and privileges they’ve enjoyed without a second thought. It’s impossible to be unaware of heterosexuality. When a negative stigma was associated with heterosexuality, when straight people needed to muster the courage to come out as straight (aside from, say, wandering into the wrong bar and getting hit on by the biggest gay biker in the room — that, I could maybe understand), when straight folks had to hide their sexual orientation from anybody for fear of reprisal, then they could throw a parade. Until that time, their pride celebration would be their ability to walk around free to be themselves every day. We’re still not, and we’re gonna keep the fire burning in this grill until the food is cooked, you dig?

Could gay people hold their heads high every day without a parade? By and large, no. People think because the world, in general, is so much more accepting now in certain places and that we’ve made certain strides forward, we’ve won the war; we haven’t. Many would argue we lost it in the early to mid-Eighties during the AIDS crisis, that we lost it when they found Matthew Shepard beaten to death and tied to a fence, and that we continue to lose it any time discrimination or hatred runs free. For people who can hold their head high every day, and believe it or not, there aren’t many, then Pride is a time to remember that you’re able to hold your head high in the first place, a time to remember who did it first and made it possible for you to hold your head high now, and to encourage others to keep their head held high in the face of adversity. Pride celebrations are your opportunity to be the bigger person that people weren’t to you, to help erase the shame for people who shouldn’t have to live in fear.

Do gay people have something to be proud of? Well, we should be proud of coming this far, if you ask me, but that’s not why Pride is called Pride. We don’t call it Pride because we’re proud of ourselves. Gay pride does not mean that gay men and lesbians are proud of their sexual orientation itself. As George Carlin once said about ethnic pride, it’s hard to be proud of something that’s an accident of birth. Rather, in this context, “pride” functions as an antonym for shame. It means that we have overcome the shame we once associated with being different, revealed our sexual orientation or gender identity and allowed ourselves to seek happiness as queer folks rather than settling for a miserable, closeted life. That’s what it’s all about. It’s important for the same reason that “I’m black and I’m proud” was shouted during the civil rights movement. It’s people declaring that despite the ignorance, hatred, and violence that exists out there, they refuse to back down.

As for their more specific complaints about “lying cheating homos” and people making fools of themselves, all I could say to that was a) trust is earned, not automatically granted, and b) anybody will invariably make a fool of themselves at a party, which is what Pride is. Gay or straight, people make fools of themselves every day. What’s one more opportunity?

Once I stopped avoiding the parade and started marching in it, I found the sense of community and pride that I was looking for in these misguided relationships. I discovered my place in the world, for which I’d searched for so long. When I’m ready to try dating again (beyond the odd hook-up here and there), I’ll do it with a wealth of experience under my belt to help me know what to avoid, and with self-love that wasn’t there when I started walking the walk.

So, if it’s safe for you to come out and start expressing yourself, give it a try. Seek out your community, and try to be a part of what it does. And before you object, do me a favor: listen to Harvey Fierstein. He might have something to say about any of the fears or concerns you have about all that. As for dating, don’t sweat it, and don’t rush into it. That’ll come along in its own time, experience breeding wisdom.


I’m gay, and — at long last — I’m proud. Are you?

Ask Me Anything, Vol. 5

Well, the directing proposals are over, and the acting phase begins. (You can kind of tell; in the Tanz proposal especially, I was giving a lot of input that comes from a character-driven perspective, in terms of creating relationships and relatable arcs for the audience to follow, and that usually has more to do with an actor’s need for motivation than a director sculpting their show.) But before I dive into acting, apparently you all had some questions. Well, let’s get to it!

As you may recall, I asked for questions, and you didn’t disappoint. The questions have gotten progressively deeper, much to my surprise, and I’m glad to get the chance to interact with my readers in this fashion. (Again, I’ve rephrased some of these, with the permission of those who submitted questions, to more clearly get at what they meant.)

I’m just kind of curious to know if you had any thoughts as to why Big Fish was so unsuccessful on Broadway. I saw it during the final week of previews in Chicago and loved it. If I recall correctly, it was very well received in Chicago, and the biggest critique was an overlong first act. I will say that I feel like some of the best numbers were cut during the move to Broadway, but that’s just my opinion. When I heard the cast recording and compared it to the songs in Chicago, I felt the songs added for Broadway were frankly too… well, frank. Their melodies weren’t as exciting and the lyrics were too simple, they told us how the characters were feeling or the exposition we were supposed to experience instead of showing us through the music and lyrics. It seemed to me like it lost a lot of its teeth in the move to Broadway. I was just curious if you had a take on the whole deal.

Big Fish? Well, that’s reaching back a bit. Let me see… okay, after a bit of thinking, I believe I have your answer for you. Let’s start with the author since that’s where everything begins. In this case, the screenwriter adapted it for Broadway, as I understand, because he always envisioned it as a musical. Well, it’s one thing to envision a film idea as a musical, but quite another to execute it, especially if you’ve never written an integrated musical libretto before. As John August himself put it in a pre-opening article, “I had a pretty good sense of the vocabulary for it but had not been steeped in it.” Problem is, the book is the key to how a whole show works. A strong book — or at least confidence that it’s doing what it’s supposed to — is very important; it anchors the score (specifically) and the show as a whole (generally). If you don’t have a great amount of experience with writing in that form, to use a building metaphor, the house’s foundation is shaky, and the rest is sure to fall. That might be why the overlong first act, and why revisions might’ve hurt it. As a result of the book not being in strong hands, the plot struggled to come across through the music, which is possibly why you saw numbers being cut that maybe shouldn’t have been. (The point you make about “showing” as opposed to “telling” especially irks me. In my estimation, that’s the most common problem with today’s musicals; nowhere does that occur more often than in shows where they’re not confident the book is doing its job. This is simplifying it significantly, but I’ve always felt a book relays the base plot; the songs and choreography give us a glimpse into the characters’ heads. Someone once put it thusly: “If the emotions run so high you can’t find the words to speak, you sing; and if you can’t even sing, you dance your feelings.” If that basic dynamic, or something similar to anchor the show’s style, isn’t there, you’ll get results as you saw with the Big Fish rewrites.) And then there’s the ballooning budget of Broadway musicals. As you might have heard, the $14 million budget of Big Fish is on the low end for a musical on Broadway these days. And making money back so it goes into profits, and is, therefore, a hit, is important. In the case of Big Fish, it’s not a well-known enough franchise to be making money hand over fist. Sure, it’s a fairly popular Tim Burton film, but the fan base isn’t necessarily the kind that pays Broadway prices or, maybe, is even interested in musicals, to begin with.

TL;DR: moderately popular franchise + large budget/prices aimed at making that money back + structural issues/trying to fix those without a firm guiding hand = the real problem.

I was wondering, would it be possible to cast actual teenagers in a Spring Awakening production? (The recent production had a 29 yr old playing opposite a 20 yr old and it showed). I understand the two characters with a sex scene (albeit a pretty tame one) would have to be of age, but since there’s no nudity regarding the other characters would they be able to hire actual teens despite the intense subject matter?

Theoretically speaking? If they’re 18 or older, and they’re professionals who won’t be personally affected by what they’re performing onstage, there should be no problem. I don’t know any casting director or production that would rush to do so, for a variety of reasons (not the least of which is the intense subject matter you point out), but it’s not utterly impossible.

Random question but I thought you might know — how do the Equity rules mandating union auditions and things like that work when entire complete productions transfer to Broadway? I saw Wolf Hall in 2015 and in the Playbill, there was a note saying the RSC appeared with Equity permission but it didn’t go into detail.

I hate that I can’t be particularly helpful, but the decisions regarding productions like this are made on a case-by-case basis, determined by the facts presented, and such discussions aren’t shared publicly. I do know that casting calls are often held for these productions, even if the whole cast is transferring, to offer a fair shot to American actors, since Equity’s primary goal is to create work for the locals they represent. (I recall distinctly that such auditions were held in the case of the Des McAnuff Jesus Christ Superstar revival.) It can prove useful, especially if you need future replacements. And as long as one does everything by the book, it’s allowed to bring the whole company over. Then there’s the exchange program, which is a whole other thing… it gets complicated answering this.

What is your most prized theatre-related possession?

Oooh. That’s tough. But I’d have to say my DVD of Jesus Christ Superstar, the 1973 film version, autographed by Ted Neeley (Jesus), Carl Anderson (Judas), Yvonne Elliman (Mary Magdalene), Barry Dennen (Pilate), Bob Bingham (Caiaphas), Kurt Yaghjian (Annas), and Larry Marshall (Simon). It’s been a great pleasure to know the people behind my favorite theatrical work of all time, and I treasure those autographs like my life, especially since Carl and Barry are no longer with us.

Let’s pretend for a sec that you don’t need a big star to have a movie musical success. I know you’re good with the casting. Pick out a cast for the movie version of one of your favorite musicals. No Hollywood stars are allowed.

Well, I wouldn’t say I’m really good, but I’m handy now and then. 😛 That said, I’m afraid I can’t do that. This year will mark my fourteenth in the industry. There is no way I can pretend that I don’t need a big star to have a movie musical success, I’m too conscious of reality. But I’ll give you this: a) you didn’t say I couldn’t pick Hollywood names, just not Hollywood stars, and b) you weren’t slick enough to rule out stars from other parts of the industry, such as music and television.

So, with that in mind, here’s who I’d have picked for the 2005 film of Rent. Jesse L. Martin and Taye Diggs were fine for their parts, but I’d have re-cast everyone else. They’d still be on the old side, but it’d be more convincing than mostly OBC plus a couple of newcomers. (Incidentally, these were also all names tossed into the pot when Chris Columbus was casting the movie.)

Aside from Collins and Benny remaining the same, my cast would’ve been Drew Lachey (Mark), Justin Timberlake (Roger), Beyoncé Knowles (Mimi), Jai Rodriguez (Angel), Christina Aguilera (Maureen), and Frenchie Davis (Joanne). Drew, Jai, and Frenchie all fall into the category of semi-famous people who’d also all done the show before. Experience + limited celebrity cachet = good fit for Hollywood purposes. As for the celebs, Maureen was a good fit for Aguilera’s aesthetic at that time in her career, Justin was then looking for serious acting material with dramatic weight (what he got was Shrek the Third and The Love Guru) and it might’ve been interesting to hear the rawer side of his voice, and Beyoncé would’ve torn “Out Tonight” the fuck up; I contend it could’ve been a career-making role in terms of her film work.

Pick a book, a movie, or a TV show you’d like to be made into either a stage play or a musical, and tell us which one and why.

Oh, thank God, an easy one! In a heartbeat, I’d turn Merlin into a stage musical. For those unfamiliar with which particular Merlin I mean… in 1998, this was a 4-hour miniseries event hyped to death by NBC, a sword and sorcery special effects spectacular (I believe it cost, like, 30 million to make) and boasting an all-star cast to end them all, for that day and age — Sam Neill, Helena Bonham-Carter, Sir John Gielgud, Rutger Hauer, Miranda Richardson, Isabella Rossellini, Martin Short, James Earl Jones, to mention just a few. As film treatments of Arthurian legends go (and none can compete with Excalibur), I’d argue this is the most palatable for a wide audience. You get to see the tale of the legendary King Arthur from a viewpoint that was, at the time, rarely explored – that of Merlin, the King’s Wizard. In this film, Merlin’s a creature born of pagan magic, living in a world converting to Christianity. Merlin is beside Arthur as he gains Excalibur, builds Camelot, and is betrayed by his wife, Guinevere. Both are menaced by the plots of Morgan Le Fey, Mordred (her son by Arthur), and their cohorts. Through it all, Merlin tries to keep Arthur from the destructive path set by fate. I watch it and see the musical possibilities there every time.


Thanks for this batch, and remember, I’ve always got time for questions! Coming soon… my lengthy series on acting.

“If I Did It,” Vol. 4: Edging Into Darkness (or, Musicals in Chiaroscuro)

My principal anguish and the source of all my joys and sorrows from my youth onward has been the incessant, merciless battle between the spirit and the flesh… and my soul is the arena where these two armies have clashed and met.

Nikos Kazantzakis, from the book The Last Temptation of Christ

Conflict is part of human nature. It’s not pretty, but it’s true. Humans are finite beings, with free will and independent thought processes; out of primal survival instinct, we seek our own best interests first. We have different needs, feelings, and goals compared to the people that surround us, and when ours clash with those of others, conflict arises, sometimes to the point of violence. In 1673, Samuel von Pufendorf, a German jurist, political philosopher, economist, and historian whose concepts formed part of the cultural background of the American Revolution, said, “More inhumanity (to man) has been done by man himself than by any other of nature’s causes.” The same — or similar — thoughts have been echoed by countless great thinkers, whether they refer to men or women, the ancient world or the present, religion or the state, specific ethnic groups or parts of the world, the roots of dystopian literature, or any number of crises ranging from health care to trusts and labor unions.

The classic poem, “Man was made to mourn: A Dirge,” perhaps puts it best of all:

Many and sharp the num’rous ills
Inwoven with our frame!
More pointed still we make ourselves
Regret, remorse, and shame!
And man, whose heav’n-erected face
The smiles of love adorn, –
Man’s inhumanity to man
Makes countless thousands mourn!

Robert Burns, 1784

But conflict doesn’t just occur with what’s around us and outside of us. As the Kazantzakis quote above attests, especially if one subscribes to moral dualism, there’s also conflict within us. Everything in nature has its opposite — birth and death, love and hate, sowing and reaping, killing and healing, laughter and tears, creation and destruction, pulling away and drawing closer, winning and losing. This is true for human beings as well; much as we hate to admit it, we each have a dark side that balances our light. Joseph Conrad defined it in his novella, Heart of Darkness, as an “inner evil” that can manifest itself when a human struggles with their morals, doing battle with their hidden darkness.

So how do we respond to, as Burns put it, “man’s inhumanity to man”? How do we deal with our inner conflict? I do what many do when confronted with something they don’t comprehend: attempt to analyze and understand it. Everybody has a different toolkit for that; mine just so happens to be theater. Luckily, I’m not the only person who uses this approach, so I’ve got plenty of perspectives to draw from. Indeed, countless writers have tackled the subject of conflict from as many angles as possible. In so doing, they’ve discovered that clichés are clichés for a reason.

Many great experts, often writing for the edification of other great experts (as Anna Russell would put it), have broken down conflict as exemplified in literature into seven distinct types. Each type is not mutually exclusive; stories often have overlapping struggles, containing multiple characters and storylines. However, each occurs often enough to form a common “type.” Most are pretty self-explanatory, but just in case, the types themselves follow, in order from (my definition of) most specific to most abstract. (Also, in the following list, assume that when I say “a person,” it can happen to a group of people as well. It often does.)

  • Person vs. person — One person struggles for victory over another, about as classic as the conflict in a story can get. (Its instances throughout the literature are so numerous that mythologist Joseph Campbell wrote The Hero with a Thousand Faces, a book outlining the archetype of a hero going on a journey and overcoming an enemy.)
  • Person vs. technology/machinery — Especially popular over the past century, thanks in no small part to increasing mechanization and improving artificial intelligence, a person fights to overcome unemotional and unsympathetic machinery that believes it no longer requires humanity.
  • Person vs. nature — A person battles for survival against the inexorable, apathetic force of nature.
  • Person vs. self — A person finds themselves battling between two competing desires or selves, typically one good and one evil.
  • Person vs. society — A person fights (sometimes successfully, sometimes less so) against injustices within their society. Without this, the dystopian genre wouldn’t exist.
  • Person vs. fate/god(s) — A person is trapped by an inevitable destiny.
  • Person vs. the unknown/extraterrestrial — A common thread in sci-fi and supernatural horror, where a person battles against an entity that isn’t entirely known or comprehensible, whether extraterrestrial (in the alien sense) or metaphysical.

If it’s present in literature, it’s also present in drama, and needless to say, the three shows about which I share what’d happen “if I did it” have conflict, both inner and outer, in spades, and they all explore the darker side of humanity, darkness breaching light (or vice versa, take your pick), and — thankfully for the audience’s delicate sensibilities — navigating the twilight of the soul without being so definite as to say there’s no hope of salvation (of whatever kind).

Candide takes in optimism vs. reality, religious hypocrisy, the corrupting power of money, and the uselessness of philosophical speculation; Sweeney Todd covers almost every conflict there is (person vs. person, person vs. society, person vs. self… and that’s just the title character’s arc); and my erstwhile favorite, Tanz der Vampire, is a witty, edgy show that pokes fun at the vampire mythos but also uses it to make important points about, among other things, the excesses of appetite. Though each has a different moral, on a philosophical level all of them explore gloaming, questionable diversions from the light into the shadows, the start of the journey downwards. (Indeed, if one was feeling pretentious, they might say these shows are chiaroscuro, an exploration of light and dark, or — more cheekily — fifty shades of…)

Walking the terminator, so to speak, is no easier behind the footlights than in front of them, but it is a way to safely explore one’s inmost parts. After all, as I’ve stated previously, theater is the act of people gathering together in the dark for a couple of hours to suspend disbelief and assume another guise, to teach us something about ourselves. If we’re not ready to learn, as the Sherman Brothers once put it, a spoonful of sugar (or show biz, in this case) helps the medicine go down most delightfully.

  • Click here to check out my Candide proposal. (Note: This was previously posted at gdelgidirector on May 25, 2018. It has been modified for its present audience, incorporating material from a post at gdelgiproducer on July 23, 2014.)
  • Click here if you’re interested in my ideas for my Sweeney Todd proposal. Before you do, though, bear this in mind: one must do bad work before one can do good work. Not just one piece of bad work, but tons of it – sometimes hundreds of hours of rough material can be found behind every successful play, movie, TV show, album, book, whatever. Everyone, no matter how good they are now, had to start somewhere then. This is where I started. As I’ve said elsewhere, the idea of Sweeney staged as a flashback playing on a never-ending loop in Toby’s traumatized mind, whilst confined to an asylum following the show’s events, is brilliant. It’s become less so with time, as everyone and their brother has since beat that dead horse six feet underground; unfortunately, like the Shake and Bake commercial, I helped. So, though the idea’s no longer particularly original, attempt to restrain eye-rolls and guffaws, and to suffer gladly the thoughts of a young man who had more aspirations than credentials. In retrospect, the other big idea is interesting enough on its own without the asylum conceit; today, I’d concentrate on that instead, to the exclusion of the madhouse. (Note: This was previously posted at gdelgidirector on August 27, 2016. It has been modified for its present audience.)
  • And click here to access my proposal for Tanz der Vampire. It’s my sincere hope that this (and its introduction in particular) makes up, in a small way, for my teasing about how working on the show was a low point in my career. (Note: This was previously posted at gdelgidirector on July 26, 2016. It has been modified for its present audience.)

Well… this wraps up my series of artistic directing proposals. I hope you’ve gained something from these examples. If nothing else, I hope this helped you understand how to flesh out your ideas on paper, the better to explain them in person. (Coming up next: a master class in practical advice for actors.) As always, thanks in advance for reading, and I welcome comments on the proposals!

Ask Me Anything, Vol. 4

Three more proposals and the series on directing is over; I’ve completed two of them, and the third should be done shortly. But… an ask popped up among recent questions for the AMA segment that I consider vitally important, so I’m going to get right to those instead of pushing ahead on the last proposal post.

(Quick backstory: As you may recall, I asked for questions, and you didn’t disappoint. This is the third installment. Again, I’ve rephrased some of these, with the permission of those who submitted questions, to more clearly get at what they meant.)

Hello! I recently appeared in a community theater production of We Will Rock You that sold out all five of its performances. (Yay!) But at Sunday dinner, my dad, who already isn’t a theater guy and doesn’t get it, couldn’t understand why we were unable to simply add a sixth performance: “You’re not doing Queen, you’re not representing them, so why not just do it? They wouldn’t care.” The more I tried to explain why that wasn’t feasible from a rights holder’s perspective (or the POV of someone who controls stuff like this), including pointing out that someone from the agency might be in the audience, the more confused he became, insisting that adding one more show would just be money in their pockets, they shouldn’t care since we weren’t pros, and that it wouldn’t make any sense for them to check out such a small production. I did my best, but he still didn’t get it. So my question is, can you break down how theater rights work in a way that makes sense to non-theater people?

I’d be glad to break that down for you; this is one of the absolute basics, but lots of folks get it wrong or don’t understand it so well if they’re not in the field. Once a show’s professional run (i.e., a Broadway production, national tour, something like that), also referred to as a “first-class” production, is over, someone has to grant the ability to stage performances of that show to the secondary market (i.e., community, summer stock, or dinner theaters, schools and colleges, religious institutions, etc.). People can’t just run out and do a show; the authors need to be paid for the use of their work. But the authors (and their managers, agents, and so forth) also already have a job: creating — or making it possible for their client to create — new stuff. They can’t be bothered with requests to present old material, or they’ll never get anything new done. So they place their show with a licensing agency like Music Theatre International, Concord Theatricals (which, as of this writing, controls four major licensors: R&H Theatricals, Samuel French, Tams-Witmark, and Andrew Lloyd Webber’s The Musical Company), Theatrical Rights Worldwide, Dramatists Play Service, or Broadway Licensing, and that agency takes care of those requests — deciding who may perform the show (including monitoring productions they didn’t sign off on, so yes, sometimes reps from the agency or the authors will come out to a small town to investigate), where it may be performed (sometimes a title’s restricted in specific places to prevent competition between smaller shows, or between a smaller run and a pro run), how it may be performed (you agree to perform the show as written to protect the authors’ rights, and changes to the show are prohibited; if someone’s dumb enough to make changes that big, the agency will, again, send a rep to check it out), and how much they’ll charge to allow you to do it — and rents out the materials needed to perform the show.

If you want to present a show, you have to find out who handles it, contact them (go to their site, look up their number, any means to get in touch), and fill out an application with details like the number of performances and roughly when they’ll happen, the ticket price you’ll set, the number of seats in the auditorium, etc. Based on that, the agency calculates a royalty — a percentage paid to the authors, through the agency, from the money made from ticket sales — and they send a quote that encompasses that royalty and the rental fees for using the materials. If you agree to that, you’ll be asked to make a security deposit, you’re sent the authorized performance materials (script, score, band parts), and you’re licensed to begin. After the production, the materials are returned and you get your deposit back (unless it’s a newer agency like TRW, which lets you keep materials), and the agreed-upon royalty is sent to the agency.

Now, as to your dad’s specific question… when you fill out the application, you have to tell them the number of performances and an approximate time frame. If it starts selling out before the first performance or just starts selling rapidly enough that an extension looks like a good idea, it’s my understanding (after several phone calls to agencies to confirm) that, before or during a show’s run, you can contact them, extend the license, and you’re fine as long as you pay for the additional performances the license now covers. However, once the terms are agreed upon, there’s no going back on them. If a theater only agreed to five performances, and the five performances are up, they can’t just go ahead and do a sixth; there’s a little leeway sometimes if it’s only one or two added performances and there are no forthcoming restrictions on the title, or if there’s an “act of God” situation (they’re willing to work with you if, say, a blizzard hit and you lost power for 48 hours), but generally, you’ll have to apply again, and you can never do it without clearing it with the licensing agency first.

Hi! I know you’re not so much into Elisabeth, but I wanted to ask you… what do you think could be changed for the show to work on Broadway or the West End? Be it in terms of the music, the book, the characters, or even the scenic aspects.

I’m sorry to tell you, but I don’t think an English-language Elisabeth’s commercial possibilities lie in the direction of Broadway. (Maybe the West End, but that’s a stretch.) The score sounds dated, the show’s tone is the definition of a hard sell, and the title character — and her surrounding history and lore — is not as well known in the States as in Europe (compared to, say, Queen Elizabeth I or Marie Antoinette, she’s a mere curiosity, if anything and the type of Americans who buy tickets generally don’t consider history lessons entertainment), and it doesn’t help that each new production in Europe or Asia seems to have slightly different songs and running order, so every time a new production opens, a new recording comes out. If a producer was trying to “get into it,” they wouldn’t know where to begin. The only things that might help it sell (and that’s a very big “if,” so to speak; even if they made these choices, it still might not last 10 seconds on 43rd St.) are a hot well-known female star in the lead, buzz-generating, amazing, must-see staging that glows in the dark, and settling on a single working version of the show, perhaps combining all the best elements of previous productions or choosing whichever version crosses over the best. (I have a candidate for the latter: the Stuttgart version, or “Dutch/German version” if you will, included exposition for things that went unexplained elsewhere [such as giving adult Prince Rudolf more stage time and explaining who he is instead of tossing him directly into Death’s grip], stylish designs, and great direction of character instead of head-scratching symbolism as in Vienna. This version might have the best chance of crossing over to America.)

And a second question, you’ve worked with film right? Could you tell me a little bit about your experience in that field?

I’ve indeed worked with film, but my experience is limited. It’s about to grow because my unit is transitioning more into that field, but there’s not much I could tell you that you couldn’t learn elsewhere from experts. Sorry! I’ll grant this, though… more specific questions about film might yield a more satisfying answer.

You mention “all currently in development.” What are the projects you are working on?

First of all, let me explain “all.” People tend to think that in entertainment a producer keeps their focus on one project and sees just that project through to completion, following which they move on to the next. A producer who does that either has a hit that’s consuming lots of their time, or they’re not a very good producer and won’t be at it for much longer. In a business with a 99% failure rate, in the words of the legendary dance teacher Luigi, you can “never stop moving.” Further, entertainment in any field is legally deemed a high-risk investment in the U.S., and in the State of New York in particular, so potential investors generally like to spread the risk to avoid losing their shirt. With that in mind, at any given time, my team develops packages of multiple projects, usually 3 or 4, for the investor to pick and choose. The immediate priority, of course, should it happen, becomes whatever deal “closes” first. As for what projects I’m working on, that changes at a given moment and people steal from general descriptions of ideas, so I tend not to divulge too many details to anyone except interested investors. Are you one? Get in touch! 😉


I don’t want to linger, so that’s all for now, but keep asking questions, they’ll pop up in the next installment, and look out for the last set of directing proposals coming soon!

Ask Me Anything, Vol. 3

Work on the next set of proposals is taking me a little longer than I anticipated, so I figured I’d keep this ball rolling in the meantime. As you may recall, I asked for questions, and you didn’t disappoint. The questions have gotten progressively deeper, much to my surprise, and I’m glad to get the chance to interact with my readers in this fashion. (Again, I’ve rephrased some of these, with the permission of those who submitted questions, to more clearly get at what they meant.)

Assume that you don’t have to deal with commercial realities or make a living. What kind of theater would you most like to do? Would you form a group, and if so, what would its focus be?

…I’ve never thought about that! I guess I would form a group. Of course, the first thing one must decide when forming such a group is what the talent base will be, and if it’ll be a garden-variety community/regional theater or specialize in particular types of casting/material (one local example of the latter is Providence Black Repertory, which offers programming inspired by the African Diaspora’s cultural traditions). The type of group you decide to create will inform your audience base as well. Bearing in mind how I started in this industry, and at what age, I think I’d like to run a program that offers performing arts and technical theatrical training to youth between the ages of, say, 12 and 21, with a specific focus on musicals, and in particular discovering and sharing things about pop culture, and how we view ourselves as a result of it, through them. I feel like this would interest a lot of parents of potential performers (and techies), because the performing arts offer kids an opportunity to enhance their literacy skills and discover latent talents, and in the best setting, they instill self-confidence that fosters hope for one’s future. It also helps develop an appreciation for the arts that is sadly not being reinforced in the American school system today (as I’ve mentioned before). The ideal experience for these kids would share insight into personal responsibility, introduce the fascination involvement with performance can bring, and generate discerning audiences of the future. I wouldn’t be looking to develop professional artists, although it’s great if that’s what they want to do; my goal would be to encourage creativity and a love for the arts and to use them to inspire growth, teach skills, and inform. A success story for my group would be someone who got involved and became a transformed individual, able to tackle any challenge and ready to become a contributing citizen.

What is the hardest part of getting started on a pre-existing project (i.e. a show that has had a previous production)?

That’s an interesting question, and there are two ways to answer it: getting started on a revival or being hired to replace a previous creative team on a show (a good example of which would be Finding Neverland, which opened in the UK with one writing and creative team and had replaced all of those elements by the time it reached Broadway). So, with that in mind, my answer will focus on both possibilities. Working on a revival is simpler, to me, than replacing the team on something new; the show already exists, and you know it works, or else it wouldn’t be coming back. It’s a proven commodity if you will. The only real hassles are getting the rights, which can be denied to you for a variety of reasons at any time, and, if you’re commercially minded, the fact that the pie, so to speak, has already been sliced and consequently, instead of making tons of money on an original, you’re mostly raking in the dosh for other people instead. Taking over an existing show and reshaping it is a horse of a different color; it’s stimulating, but for other reasons. On the positive side, your work is cut out for you — there’s already an existing version of this show, and you know it doesn’t work or you wouldn’t have been called in. Having something to look at allows you to trust your judgment and avoid making the same mistakes in your overhaul, or to plead the case of something on which the head honcho is missing the boat. But the negative is that you’re constantly walking on eggshells, in terms of both navigating the previous creative team’s hurt feelings and also the possible animosity of actors (provided the cast is retained), who get very protective of people and material they’ve already worked with, to the new boss. (I’m reminded of the story of how Stephen Schwartz auditioned his new score for Godspell to the original cast, who sat there with blank faces before grabbing a couple of guitars and running through their rougher previous version.) If you can do a better job than what you saw, it considerably lessens the sting, but it’s no picnic. Still, the success, should it come, is worth the effort. (In fact, one of our best original projects is one where my boss came in and replaced the whole creative team; it works, and it’s going to get even better once we give it another shot of adrenaline.)

The first project you worked on as a producer?

The actual first project is lost to the mists of time, sadly. (Because of the sheer volume of projects, not all of which reach fruition, I believe producers’ memories age faster than the average schmo; as my boss once put it, “It all becomes art fudge.”) A cursory glance at the Yahoo! email account I used at the time, however, shows I initially received budget proposals for a Hair revival and an original Whoopi Goldberg-targeted vehicle as examples of what kinds of shows I’d be working on.

Are you fond of any foreign language shows?

In the industry, it’s something to be ashamed of, but I out-and-out love Tanz der Vampire. However, though I see a lot of love for Elisabeth, Rebecca, and more out there, I find I just can’t get into other foreign shows. (Among those that bug me: I’m surprised Notre Dame de Paris has a fandom; I find it a lovely candidate for an insomnia cure. I much prefer Disney’s Hunchback, which, though it’s had foreign runs, is technically American in origin. Just don’t get me started on how I prefer the original Berlin production to the licensed version…)

What are the greatest highs and lows you’ve experienced in your career and why?

One of my greatest highs was the first time I made money on a project. I’d been producing since I was 15, and as is the case 99% of the time in this business, it looked like all talk and no result until then. I tried to tell myself that while it doesn’t pay 24/7, 365, it’s what I love to do and I do it well, but back then, people looked at it with a jaundiced eye and frequently asked me when I’d get a real job. That is, they did, until I handled an image rights negotiation for the Estate of Michael Jackson in the Asian market in 2009 (a pachinko manufacturer wanted to use his likeness and clips of his performances for a themed device). Though the project involved came to naught, I made a couple of grand for my trouble. It was the first tangible proof my work was worthwhile, so I can’t fault that as a high point. The lowest point, sadly, involves one of my great loves, Tanz der Vampire. But because legal action may be coming up on that project within the next twelve months, I can’t say much more about it here. (I’m sorry I have to leave such a tantalizing breadcrumb without the rest of the loaf, but you asked and I chose to answer as honestly as I was able.)

What are your views on the current state of musicals, be it on an international level (including regional productions) or exclusively looking at what Broadway offers these days?

Another question with two possible answers; in this case, I could answer from a purely artistic standpoint or a purely economic standpoint. As is my wont, I choose both. Artistically, my view on the current state of musicals is immaterial, because opinion in the arts can only be subjective. Speaking for myself, do I like most new musicals? Nah, they’re not my style; they’re not what I grew up with or what I like. And I question why someone would pay $200 a ticket to see the musical version of a movie that plays constantly on TV for free. But what I like has nothing to do with what sells, and what sells is ultimately the key indicator of success for a producer. From that standpoint, Broadway isn’t dead or dying, and never will be. Broadway can’t be “destroyed” by anything. Now, I get why folks are upset; the days of producers taking a risk on a show that didn’t rely on big-screen familiarity or popular music seem to be over. Like today’s movies, Broadway shows are so expensive to produce that investors are reluctant to buy into an unproven property. And risk-averse Broadway wants as much of a sure thing as it can get. So they produce a glut of “sure things,” and then discover they aren’t a blueprint for success 100% of the time. But there has never been a time in my memory when everyone was happy with the state of Broadway. Go back a quarter century, and people bitched that all the big shows were imports from London’s West End. Over the past few decades, every time trends shift slightly, people (I call their type the “Nostra-dumbass”) bemoan the death of the Great White Way, and they’ve never been right. Unless every theater suddenly closes up shop, they’ll have a hard time convincing me otherwise. This trend of jukebox and screen-to-stage musicals will pass, and it’ll be replaced by something new for us to complain about. Complaining is part of the Broadway experience. As long as there’s an audience willing to believe in it, and to shell out the money, Broadway’s not going anywhere any time soon.


That’s about enough for now. I have more answers to your questions, but they will come in the next episode. See you then!

Ask Me Anything, Vol. 2

As you may recall, I asked for questions, and you didn’t disappoint. This is the second installment of those. I was kinda surprised by the presence of at least one acting question; someone’s trying to get me to jump the gun! Patience, dear readers, patience. (Again, I’ve rephrased some of these, with the permission of those who submitted questions, to more clearly get at what they meant.)

Hi, I’m doing an audition soon to move up groups at the television workshop (a drama group in the UK that trains people for TV/film acting, they’re also your agent if you get in), and I’m just wondering if you have any suggestions as to what monologue I could do. I’m male and 16. Given that they train for television they typically expect naturalistic performances, but the monologue style is down to the actor’s preference. Usually, their actors do a lot of dramatic roles (Game of Thrones, Utopia, This is England, etc.). I’m considering the monologue of Caligula from Caligula by Albert Camus but I’m not sure, as such I’d appreciate the opinion of someone with significantly more experience than myself. Thanks!

Well, damn! First of all, actors, this is a perfect example of how you frame this question: all the info up-front about the workshop that a person could need to help them give more targeted advice, what kind of roles they usually put people in (better not to prepare something funny for a workshop picking leads for a weepy drama), info about yourself as a performer that may be relevant… this dude has it down pat, and he’s only 16! Kudos! Now, to answer the actual question: you say their actors usually do dramatic roles, which of course means they don’t always. If they don’t specify how many monologues you can do, I’d say prepare one serious one, and one funny one, and see what reaction you get from the people you run audition pieces by before auditioning with them. If you can do both, do both; show them you’ve got range. As for specific pieces, I’m not great at selecting monologues; there are plenty of books and websites out there that help with that sort of thing. If you think you’re good at the Caligula one, go for it, but have an alternate option just in case, and a funny option as a backup.

What’s been your favorite project to work on (that you can disclose)?

My favorite project to work on, that I can disclose, has been an original musical called Excusez Moi, which is currently in development for production. It’s easily my favorite of our overall project slate and probably has been since I joined my company at 15. It boasts (arguably) one of the most unique scores in theater history, and is uniquely suited to casino showrooms or club venues. For more on this, you’ll just have to keep an ear open.

What’s the most ridiculous Shakespeare interpretation you can think of? (THE CAVEAT BEING it has to be something someone would actually put on.)

Finally, someone asks me about the classics! (I post about musicals a lot here, but I do have some stuff to say about plays too, y’know.) Well… the most ridiculous Shakespeare interpretation I can think of has already come to life. Or have you never heard of the Tiny Ninja Theater Co.’s renditions of Macbeth, Romeo and Juliet, and Hamlet? (I shouldn’t judge. Some people I know and trust say that it’s kinda fun. But I’m judging unless or until I see for myself.)

If you could go back in time and see any production of any show, which one would it be and why?

For all the knocks I gave it in my notes on the show, if I could go back in time, I’d see the original Broadway production of Jesus Christ Superstar in 1971, just for the sheer insanity of that particular rendition. Reviews of the time allude to a curtain that doubled as the stage floor, laser beams, smoke and wind machines, dancing dwarfs, shuffling lepers, hooded demons, Jesus crucified on a golden triangle, intricate bridges descending from the ceiling, and incredible costumes appearing out of the floor. Don’t get me wrong, it’s not how I view JCS at all (to me, it’s not a circus of show-biz gimmickry, it’s a simple, moving rock opera, the story of Christ’s Passion told in the vernacular, and the appeal for me has always been the music and lyrics giving a new spin to this age-old story), but still, I’d like to have seen it, just for the gonzo spectacle.

You allude to having tried other roles in the entertainment industry. What made you decide firmly that you wanted to work as a producer?

Put simply, it was realizing, “I can either do something I’m good at or fail at other stuff.” As an actor, I read well, and I can more or less memorize blocking after a few tries; memorize my lines, though? In the words of Hall and Oates, “no can do.” Unless it’s a show I already know and love well, I just don’t retain new material. I dunno why, that’s just how it is. (You can see how that would be a stumbling block, I’m sure.) As a writer, I discovered I’m a better idea man and editor all around; playing with someone else’s stuff is way easier than trying to cultivate your own “voice,” and I could see that, unlike others who graduated from fan stuff to original work, that would never be my path. I wanted to be in charge and to play a vital role, and a producer calls the shots, raises the money and says we have a show. What’s more vital than that? I didn’t know I had an aptitude for it, honestly, until someone spotted it and believed in me enough to tell me I should pursue it. (This is a story for another post.)

Alright, Mr. Producer / Aspiring Director, pop quiz! You have infinite money and resources, and you don’t have time to write one of your proposals. Give me a concept for a revival. Go!

…you chicken shit son of a bitch. Alright, let’s see… I’d develop a Cabaret revival that utilizes the three-act structure attempted — and dropped — in the original production’s out-of-town tryout. It’s always been a three-act story to me, and three acts are the ideal structure for a play if the story can justify it. The intermissions give the audience a chance to digest and then move to a higher level of concentration. Cabaret’s story is so rich with meaning that it certainly supports it. If you put something wonderful in front of an audience, you won’t lose them. If it’s not wonderful, why are you putting it on? Visually speaking, it’d have more in common with the Hal Prince / Ron Field staging than the now-ubiquitous Sam Mendes / Rob Marshall revival, but the book would be more like the latter than the former, and the numbers common to the show and film would retain Bob Fosse’s choreography. (One does not simply waste classic Fosse.) Score-wise, “Willkommen” plays like the 2006 West End revival, wrapping in and around Cliff and Ernst’s opening scene; “Telephone Song” becomes a transition to the Kit Kat Klub and includes the full extent of “Telephone Dance”; Sally can sing either “Don’t Tell Mama” or “Mein Herr” but not both, because each sets up her character differently, so I’d re-assign “Mein Herr” as a commentary song to Fritzie / Fräulein Kost; intermission after “Tomorrow Belongs to Me”; new Act II opens with “Why Should I Wake Up,” then Sally drops the bomb, Cliff tells her “Don’t Go,” and she responds with her non-diegetic thoughts (“Maybe This Time”); “The Money Song / Sitting Pretty” as combined for the ’87 revival is used; “Meeskite” is included; intermission after “Tomorrow Belongs to Me (Reprise)”; and then the show continues more or less as written from there (full version of “I Don’t Care Much,” and classic version of the finale with various character flashbacks if you’re curious).


It’s been great, it’s been swell, but I’ve got to run, for now, schnell! So, keep asking questions, and maybe they’ll pop up in the next installment.

(For those who only care about what’s next, there’s only one more portfolio of directing proposals to get through, and then we’re on to acting!)

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