As I wrote last week, my day job now is to write a “bawdy libretto” for an operetta about the seventh deadly sin: pride. It will be performed in NYC (and hopefully elsewhere) next year. I now have three plays in the works. One was produced in New York last October and remains in development for future professional productions. One I have reworked and is now as fresh as spring time and ready to be sent out. And one I killed by overwriting, but it is on the autopsy table for study.
Right now the future is the libretto for a bawdy operetta. This is what I’ve learned so far:
My bosses and co-collaborators are Christian and Patrick, the founders of Mind the Art Entertainment. Their six previous operettas about the six other deadly sins have either been performed in New York or are in development for performance. This thing is going to happen, baby! These guys are real, and real talented.
But this is what they have taught me: collaboration. They are amazing. They told me to write a libretto. They said they needed 10 songs in the first act and eight songs in the second act. There would be eight actors performing over 35 rolls, it would be entirely sung and it would be a bawdy comedy. Once I wrote the libretto Christian would put music to it. But I had never really understood artistic collaboration before. I kept going to them and saying “is this what you want?” “Is this what you want?” And I kept getting the answer: “Write the libretto you want to write! Make it your voice. Make it your story.”
“How about if it’s totally rhymed?” “How about if I try and do hip-hop?” “How about if I have a singing dog?”
Last Friday I met Patrick at the Opera Center in New York and we were scheduled to work through the first draft that I had provided. It was a corner room with wood floors and perfect acoustics. The sunlight came in through the seventh floor windows. We worked at a central table in the middle of a room, which was much larger than we needed.
I started with my same stubborn questionings: “Is this what you want?” Patrick, almost with an air of irritation, said again: “Write the story that you want. Tell the story that you want. We will collaborate. We will collaborate.” And we did for the rest of that day.
He knew the first draft as if he had written it and just offered ideas for consideration. They were amazing and creative beyond my wildest expectations. I had expected head-banging. I got laughter and collaboration instead. Later on the next night Christian and I went out to dinner at the Algonquin Hotel, the historic home of the round table and Dorothy Parker, and he leaned over and laughed and said, I can write to your words. The rhythms makes sense. And we both laughed. I asked for his thoughts and because I had not brought paper I took notes on both sides of a bar napkin and carefully folded it and put it in my wallet before we left to say good night.
I am now halfway through April and deep into the second draft. This is more fun than I could ever have imagined.
As we closed the bar late that night, Christian said: “Our job is to create art and have fun.”
Thanks to Christian and Patrick, I’m learning that.
The impossible dream continues and maybe even is gathering steam.
Sue Marinello, Onaje’s producer and her ever-talented daughter Katie, are marketing Onaje after its spectacular reception at the New York Fringe festival in October. During the preparation for Onaje’s opening and throughout the production and thereafter, I have made many friends who have taught me in a way that only talented and experienced people can.
After the close of the show I was invited to write a libretto and help co-write the book for an operetta produced by Mind The Art entertainment for Christian De Gré, the super talented composer of, and producer of numerous successful operettas and musical pieces in New York.
I am finishing the first draft by the end of March and then going over what I have written with Patrick Alberty, the co-writer of the book and Christian in April, and then going to Mexico for a week with this team to put Vox Populi, “the voice of the people,“ based on the seventh deadly sin of pride, into a final format for marketing and production.
I have almost finished the first draft already and I’m optimistic and full of joy at the future prospects of this and other pieces I am working on. Though I loved the service to others that I was blessed to be able to do as a business lawyer, this life after law is truly a dream I have always had come true.
I will keep this blog alive and track my progress by it.
The beauty of FringeNYC is that it demands creativity from the start at every level.
By way of example, I want to introduce you to the creativity and resourcefulness of our director, Pat Golden, and producer, Sue Conover Marinello.
ONAJE has set directions that specify a convertible with working lights, horn, and doors, a picnic table that might weigh several hundred pounds, and a working kitchen in a waterman’s house next to the Chesapeake Bay on the Eastern Shore of Maryland.
FringeNYC is similar to a film festival in that a new performance goes up in the same space with only half an hour in between. Each play is given 15 minutes to set up and 15 minutes to break down the set. Obviously, we cannot assemble and deconstruct and store a set that contains a car, a big picnic table, and a kitchen in 15 minutes!
Nonetheless, ONAJE’s creative team is embracing the challenges as an opportunity to increase the impact of an already dramatic play — using light and sound and imaginative props to create a set that will be constructed in the minds of the audience.
Their ideas are already better than what was originally called for in the script.
Come see for yourself this October! We should know our venue and performance dates soon. If you’d like to secure advance tickets you can do so by helping us with a contribution: http://theplayonaje.com/contribute.
I am continually humbled by the amazing talents of the people who have come together to help bring ONAJE to life at FringeNYC. Two standouts are our tenacious, indispensable producer, Sue Conover Marinello, and our inspired, insightful director, Pat Golden. I am thrilled to have Pat’s creative guidance and casting acumen.
A little about Pat:
Pat Golden is an award-winning director and casting director for stage and film, and has had an extensive career that includes Broadway, Off-Broadway, Regional and International credits. She was Assistant Director to Emily Mann on the Broadway production of A Streetcar Named Desire, and has been affiliated with The Ensemble Studio Theatre (EST), Cherry Lane, Lincoln Center for the Performing Arts’ Mostly Mozart Festival and many other venues.
Pat is also a filmmaker and Casting Director, known for discovering new talent. She won the Artios Award for Best Casting in a Feature Film (Drama) for Platoon, and was nominated for Blue Velvet. Other feature credits include Gimme Shelter, The Handmaid’s Tale, and The Killing Fields. She’s worked with Lee Daniels Entertainment, New Line, Warner Bros and PBS as Associate Producer.
We are truly fortunate to have Pat’s incredible talent, experience, and dedication for ONAJE. Come to FringeNYC in New York this October and see for yourself!
ONAJE Staged Reading in L.A. a great success
ONAJE received a new staged reading at Theatre 40 in Beverly Hills on April 15th, superbly directed by Adrian Cohen and featuring an amazing cast: Travon McCall, Annalee Scott, Cathy Tomlin, David Hunt Stafford, David Welsby, Shaun Savage, Stephanie James, Frederick Dawson, Eric Keitel, and Patrick Hallahan.
We had a full audience, who were kind enough to stay afterward and give us some very helpful feedback. It was a great discussion, as well as a reminder of the impact that live theater can have.
On May 24, 2018, at 3:25 pm I received an email from the New York Fringe Festival (FringeNYC.org) telling me that my play, Onaje, was accepted for production in New York in October.
At the heart of the play is the Civil Rights riots and burning of Cambridge, Maryland in 1967 —still sadly relevant 50 years later with civil disobedience in Charlottesville Virginia, but this time the President says “there are good people on both sides.” We are still “a house divided.”
I lived on the Eastern shore of Maryland as a boy that summer. I had grown up in liberal Massachusetts and had never experienced firsthand racism or the terror of being an outsider and the range of psychological damage which occurs from it.
My first day visiting the Eastern shore I was invited to go to a country club to go swimming in the club pool. I was not a hippie. My hair was long enough to go over the top of my ears but not over the back of my collar. As I approached the gate to the fence that ran around the edge of the swimming pool I saw the lifeguard looking at me as he descended from his tower to confront me before I entered.
When he stopped me at the gate he told me because of my hair I would have to wear a woman’s bathing cap. Swimming stopped and parents and children looked at me. All the men had short crew cuts and all the women had long hair but were not wearing bathing caps. That was in early June the riots occurred in late July.
I will continue writing in this blog about the production of the play up until I’m through its final performance in October in New York. I don’t know how it will land. This is the story of the first production of my play. Come and share with me the ride.
(We need help to keep the wheels on. If you can manage it, please donate.)