When an L.A.-based musical theatre writer asked me if she should move to New York, I realized I’d failed to commemorate, here, the anniversary of my arrival there, soon after high school, in a year ending with 8. By the next year ending in 8 – that is, ten years later – I’d had seven musicals produced and a college degree.
None of that is coincidental. Or course my young friend should move to New York. Of course there’s no way I would have seen so many of my shows on the boards in my twenties if I was anywhere but New York. Gotham is invigorating vinegar; we in the musical theatre biz are the flies.
And that seems obvious to me, a no-brainer. Usually, I write these essays in the literal old-school way, with a thesis I must prove true. But does anyone really need convincing of the greatness of The Apple?
So, instead, a few random memories; things I think could have only happened in New York.
Nobody ever gets raped in Kansas City…
On a visit when I was sixteen, I saw a little revue with a song that maintained that only right here, in New York City, could anything ever happen to you. Such was the town’s reputation then, and today we’re more used to the idea that while there are more murders in NYC, there aren’t all that many per capita; my borough, Manhattan, wasn’t a hazard. But there’s a weird sort of macho pride to living, unscathed, in a place your Aunt Winifred thinks is a nightmarish hellscape. Really? You really have an Aunt Winifred? Cool.
Nowadays, we’re used to the transgendered, but my freshman year of college, the concept was quite a head-spinner. I was hired to accompany an evening of Brecht plays, and cabaret songs were warbled by a Sally Bowles-type with fabulous legs in fish-net stockings. Six feet tall, plus heels, and, you guessed it, born a man. I had a job to do, and didn’t want my concentration to drift towards the down-below details of the Amazon I was playing for. But then came the staging. I had my back to the audience, playing an upright piano. The singer sat on top of it with her legs spread, one heel just past the piano’s high note, the other just past the low note. The reconfigured anatomy I didn’t want to think about was directly in front of my eyes. You try not to think about it.
Years later I was playing piano bar in the Village and didn’t bat an eye when more than a dozen drag queens poured into the place. They’d attended some event – Wigstock? – and now wanted to sing show tunes. On another night there, I kept my cool as a terrible fist fight broke out. The combatants were near the top of a metal staircase that headed to the basement, and a fall the wrong way could have seriously injured someone. But I knew the bar’s able bouncer would soon pry them apart so I just continued playing Isn’t It Romantic?
I Walk a Little Faster
The thing Carolyn Leigh and Cy Coleman captured so well is that, every step you take in New York is filled with romantic possibilities. You’re brushing up with strangers, constantly, and one may turn out to be the love of your life. My cousin met the woman he married on a subway platform, and years later I wrote a song about such sweet serendipity. If love is in the soot-filled air, you’ve more inspiration for the romance that goes into your shows.
That song was part of a projected revue a famous restaurateur tried to hire me to write. I negotiated a price and we got together one afternoon, sitting in a booth to sign a contract. Her assistants, two rather large fellows, sat in the booth with us, and I was literally up against the wall. The henchmen – can I call them thugs? – complained about things in the contract that we’d already agreed upon, as if my work couldn’t possibly be worth the meager fee I’d accepted. I knew, right then, that I couldn’t risk working with these people, but couldn’t make a quick exit because the thugs wouldn’t get up.
Maybe that’s not an only-in-New-York event, but I felt I was lucky I didn’t end up in concrete shoes at the bottom of the East River. Do would-be revue-writers get drowned in the Monongahela? You tell me.
At auditions for On the Brink, in walked a man who seemed to be a crazed killer, and, naturally, we thought “Hey, our opening number contains a crazed gunman! We should call him back.” Then it turned out his singing was the one thing about him that wasn’t up to snuff. For The Christmas Bride, auditions were held in such a remote and sketchy place, few people showed up. One middle-aged character man impressed us, and he phoned his girlfriend (who was half his age) to tell her to rush down since she wouldn’t face a lot of competition. She got the lead.
Then there was the time we all showed up one morning to find a locked theatre space, and nobody had the key. So, we moved across the street to an underused atrium, one of the oddest looking spaces I’ve ever seen. Tall but very thin, with one long staircase stuck to one wall, and one more leading nowhere just for show. ** heavy sigh **
The real American folk-song is a rag
The Company of Women was developed in a loft of dubious legality in a non-residential part of town, right around the corner from the original Tin Pan Alley. We commenced creating with a dozen performers improvising scenes from their lives. And I’d be inspired. Not just by what I saw, but from the presence of ghosts. That is, as I walked down 28thStreet, I knew I was literally walking in the footsteps ofGeorge Gershwin, Jerome Kern and Irving Berlin. And that mattered to me. A lot. Go try and find that anywhere else in the world.