So, four years ago today, we bought a house. And I’m not just going to sit here and reminisce about how great it was. I want this blog to be less personal, more useful to musical theatre people. So I’m stating this, right at the top, and let’s see if I can follow through.
Leaving my native New York filled me with fear and anxiety. Would I be able to function in a place where I couldn’t get up at 3 a.m., walk two blocks that weren’t empty, and buy some recently-made pasta salad? And I guess this leads to a broader question: What do we need, in our environs, in order to write good musicals? Somehow, I don’t think 3 a.m. pasta salad could possibly be the necessary fuel, but answer that one for yourself.
Our house in the suburbs was 35 minutes from Broadway, closer than the old song goes. I commuted in, and, boarding that train, I always had a certain show tune in my head “New York, in sixteen hours! Anything can happen in those sixteen hours!” And when I’d disembark, I’d feel like a butterfly emerging from a cocoon. I was now free to flutter, eavesdropping on hundreds of conversations. I believe this improved my dialogue writing, just hearing how the wide variety of people talked.
Many writers require a certain solitude. A truly quiet environment was a new concept for me. My office at home was a tiny room with windows on four sides – that is, no wall space, and a windowed door to the living room. Jutting out from the house, I felt thrust into nature like a peer into a lake. God, I’m filled with similes today: My life was like a hot fudge sundae: the coolness of the suburban surroundings combined with the chocolaty heat of New York.
Before long, we discovered that all sorts of musical theatre people lived in our suburb. Who doesn’t love Norbert Leo Butz, Kate Baldwin and Christine Ebersole? So, when we told our neighbors what they did, they never stared blankly – “Musical theatre? What’s that?” – as we weren’t the first show folk they’d met. Now, when I walked into the village, filled with nothing but cute mom-and-pop shops, I’d a greater chance of eavesdropping on, say, Kait Kerrigan, than I did in Manhattan.
This fed me. I talk to a guy on-line who strives to write shows in a Midwestern town that is literally famous for only one thing: its lack of culture. I have a lot of trouble imagining how anyone could create musicals without being surrounded by other people who create musicals. This is the most collaborative of art forms. One needs a nexus.
So, the song Forty-Five Minutes From Broadway makes me think of the play, Forty-Five Seconds From Broadway, which is about the Edison, the sit-down delicatessen on 47th Street. A little over ten years ago, I sat down with a brilliant director, an enthusiastic producer, an old pro stage manager, a lustrous costumer, and a magic craftsman of a set designer. The latter brought a model of what my musical would look like in its upcoming production at the Julia Miles Theatre on 55th Street. We huddled over it, focused on making a smooth transition between scenes. The set guy estimated how fast the set could be moved; the costumer estimated how fast clothing could be changed. I forgot to mention the lighting person, who certainly put in two cents. (Food at the Edison was inexpensive.) The producer made sure we didn’t have to pay for more “soft goods” such as black curtains you hang so that areas of the stage aren’t visible. Once we discussed how long the scene change should take, and what the feel and energy of the musical was at that moment, I ran home (which, then, was on Broadway) and wrote the song the cast would sing during the transition.
I couldn’t have done that without attending this meeting of the creative team. It’s a haughty concept to say they inspired me; this was different: The energy of all those minds applying themselves to a musical theatre storytelling puzzle got my mind going in the right direction. And the late, lamented Edison Diner was the nexus, the convenient meeting place with matzo-ball soup.
This year, I had an experience in which, like a shot out of a rifle, stuff was suddenly happening, really quickly. One of my shows had been selected for a forty-five minute presentation in southwestern Connecticut. I instantly needed to assemble a reasonably competent cast, quick learners who’d be right for their roles. Luckily, I knew who to call, and in rather short order, I had eight really good New Yorkers learning songs and script. The thunderous ovation they received went on so long, I had a moment to count my lucky stars. I thought about how eight ready, willing, and able players can be found in short order in New York. I’ve been wondering, ever since, whether such a thing could happen anywhere else in the world.
But you tell me. I’d like to learn from you if the stuff I’m describing could happen, or regularly happens, in other places. “Unique New York” used to be a tongue-twister. Somewhere along the way I adopted it as my creed.