Another Marni Triumph

Marni Nixon and I did our Merv Griffin thing at the Harvard Club tonight and we were a smash despite the video system being too low in volume and the lack of showmanship from the people there. We killed, she sold books, and we got free dinners. Sing for your supper and you'll get scallops! Marni and I discussed plans to do the show (what show?) in London and I posed a tribute to her TV career (she has Emmys!) at the Paley Center. Wow, our book has certainly been a boon in a way. Will I ever have another ghosting experience this good? Maybe. Maybe Not. I think we should call our two person show Audrey Hepburn Dubbed My Face...The Ghost Strikes Back... Marni Nixon Unmasked...

Good Things Come in Threes

After Grand Jury duty today I biked over to David Krane's and heard the new song for The Road to Qatar! "Good Thing's Come In Threes" Nine times out of ten David hits the nail on the head when I hand him a lyric...well this was no exception. It was perfect. Better than I could have imagined from my dummy tune. A really fun and funny number that serves its purpose. How lucky am I to have had the Arabs put us together. Our senses of humor click and he has the skills and talent to back it all up musically. Thank you Arabs!

Qatar Revisted

The rewrites on Qatar are going well. I presented the new lyric Good Things Come in Threes to DK and he liked it! Horray. I can't wait to hear what he comes up with. It's funny and does what it needs to do for the plot. Now I just hope that with all the cutting and shuffling and rewriting (and eliminating the intermission) it's shot enough to warrent elimating the intermission. Can't tell yet.

Dubai Bye Birdie

Spent last night and today working on rewrites and cuts for The Road to Qatar! Funny how when you cut some stuff you wind up writing a whole new number that helps everything go faster (or seem to) It's been that way writing this new song "Good Things Come in Threes" I hope to have it semi-polished for tomorrow so I can present it to DK, the composer after our lecture/interview early in the AM. We will be talking about his career as a dance music arranger and showing some great vids from the TV Annie and the movie of Chicago. Then back to Dubai and Qatar.

Not so Elder-and not Hostel at all

Did one of my lectures about writing for the musical theatre for the wonderful Elderhostel group brought to nyc by ExploreNY. It was a smash today. I told about my beginnings, writing special material, Dodsworth, showed video of Hal Linden and Dee Hoty and then segued into the real life Road to Qatar story that had them roaring with laughter. It's more of a standup or one man show than a serious lecture, but ultimately wildly entertaining. I am so proud after each of these. I get to use my writing and performing skills and hone my comic timing. It's a treat!

Time after What?

Time for me to bitch a bit. Time after Time is having a reading late August and a full fledged production (albeit at a univerity but still...) in the Winter of 2010 and with my collaborator in a different state (literally and figuratively) it makes collaboration sooooo hard. We are in rewrite time and having just done work with my other collaborator on Qatar in the same room, it makes me long for the same opportunity. When this Time after Time work began lo these many years ago we were both in the same state and city but events have separated us and now I find it next to impossible to get the work done. I would NEVER want to start a show this way. But here I am stuck with working across state lines. Phone and emails are not the same as pacing a room and looking at each other's blank faces. But the work has to get done somehow...and so it will. Enough bitching.

Qatar Revisited

Had a great work session today with DK just back from a holiday. We talked over many great ideas and outlined how to no only make Road to Qatar shorter, but BETTER, which is really the idea. To make it go fast and funny and still not lose any of the elements that make it the show we love. Cutting is one thing but reconceiving and not throwing the baby out with the bathwater...well that's another story altogether. We are cutting a half of one song, 8 bars from another, one whole song, two whole reprises and drastically changing and tightening what was the finale Act I in an attempt to not have an intermission, but more importantly to have a great ride that never stops and is wildly entertaining and fun and enlightening at the same time. Not easy. But the outline is there in our heads and now it just takes the doing. Tomorrow I give one of my famous lectures about...ME...and that included (nay stars) the real life story of The Road to Qatar! so once again by telling the real story I will probably clarify our fictionalized version of it. That is my hope.

SUNDAY AFTERNOON ON THE PHONE

Just spent almost two hours doing a phone interview for a podcast for Musicalworld. I have already done one long show for them and they played some great stuff from Time after Time, After the Fair and Night of the Hunter. This time I talked about The Road to Qatar (the musical ABOUT writing Aspire in the Middle East), Aspire (the musical we wrote FOR the middle east), Casper starring Chita Rivera (that should be the title no matter who is in it!), and Time after Time also touching on Dodsworth. This will be divided into two shows. To find this on Itunes (and you can listen to my first show or any of the others free of charge go to Itunes and seach for Musicalworld podcast. When the next shows are on I will give more direct links. Meanwhile I am exhausted talking about the past (although I did get to plug my newest show in the making Merman's Apprentice and the upcoming productions of Qatar (fall at Lyric Stage in Irving Texas) and Time after Time (winter at Point Park University in Pittsburgh, PA)both world premieres. Wow!

Muriel Plakenstein

By the way, Merman's Apprentice is named Muriel Plakenstein (and yes, she knows she is going to have to change that name!) You can read Part One of the story somewhere earlier in the blog. If anyone wants to see more, I will post it. I am up to page 71! When will it end?

Muriel and Sitcoms and stuff

Been working a little more on the sitcom premise...waiting to hear from my new collaborator about my new ideas. Also did some work on Merman's Apprentice, the story and Merman's Apprentice, the musical...I sent off the lyric for Muriel's opening number to the composer. I have toyed with it on and off for a while and I hope he likes enough of it to set some so that I can rewrite if necessary. It all takes place on the old Canarsie line coming in under the river to the magical Oz like place: Broadway in 1970. We already have the second song which is Merman's entrance: A Broadway Star with such non-reverential lyrics as

SHE MAY BE OLD AND HER CHINS MAY ALL SAG
MAYBE SHE LOOKS LIKE
A TRUCKER IN DRAG
BUT SHE’S_____
A BROADWAY STAR

MAYBE HER PERFUME REMINDS YOU OF BOOZE
AND SHE MAY USE LANGUAGE
A SAILOR WON’T USE
BUT SHE’S_____
A BROADWAY STAR

this goes on to include Merman making fun of herself as her autograph hounds pick up the pace...

SHE MAY WAKE UP WITH A GRUNT AND A GROW’L
MAYBE HER MAKEUP’S PUT ON WITH A TROW’LL
BUT SHE’S
A BROADWAY STAR

FORGET ALL THE STAGEHANDS SHE HAD TO DISMISS
SO WHAT IF HER CO-STARS RESIGN WHEN THEY KISS
STILL SHE’S
A BROADWAY STAR

the other two songs are Merman's semi-serious number "Taking the Veil"

IT’S LIKE
TAKING THE VEIL
EIGHT SHOWS--YOU SHOW WITHOUT FAIL
NOW MATTER HOW YOU MAY FEEL
YOU SHOW OR THE SHOW
IS A FAILURE

and Muriel's title song "Merman's Apprentice"

WHO'S GONNA BE LEARNING THE ROPES
LIKE HOW TO TAKE STAGE AND THEN MURDER THE DOPES?
AND WHO WILL GET THE SUCKERS TO STAND
WHEN SHE'S THRU?
MERMAN'S APPRENTICE
MERMAN'S APPRENTICE
YES, MERMAN'S APPRENTICE
THAT'S WHO!

I still have to finish the story so I know how the darn thing ends. Off to the gym soon to pump and think

TV or Not TV

There is no question at all...TV!!! Today I met with a new collaborator and we are going to write a pilot for a sitcom targeted to LOGO. It will be Gay and Broadway (or is that redundant?) so stay tuned!

Funny Girls Minus Two

Well, Marilyn Michaels is not interested and Mimi Hines needs a lot of money to come and rehearse so Funny Girls bites the dust. NEXT!

Rewrites

I had trouble falling asleep last night thinking about how to cut The Road to Qatar. I came up with some drastic cuts, changes, etc. but they only make more problems...why is rewriting so hard...actually why is cutting so hard...actually why do I have to cut!!! This morning I had breakfast with Barbara Minkus (Jennie Grossinger herself) and we talked about a nightclub act I conjured up for her and two other semi-stars. Here's the idea

FUNNY GIRLS!

An dynamic evening starring three of the original "funny girls" who played the starring role in the smash hit Jule Styne-Bob Merrill show. Mimi Hines, Marilyn Michaels and Barbara Minkus have each had brilliant and varied careers which converged in the role of Fanny Brice. The show will start with one of the most dynamic overtures ever composed and before the applause can die down our three ladies will each be discovered in a spot singing "I'm the Greatest Star," in a mock competitive way that will kick off the evening of memories and songs not only from the score of Funny Girl (some sung solo, some duet, some trio) but also authentic Fanny Brice songs such as "Second Hand Rose" and "My Man." Each of the funny girls will get to shine in her own inimitable way, but it will be the coming together and banter that will make this a genuinely memorable event. The evening will also be tied together with brand new special material written by awarding winning songwriter Stephen Cole, who also conceived and will direct the evening. From "Don't Rain on My Parade" to "People" this dynamite evening promises to be a tour de force that will make you forget that anyone named Barbra ever played the role.

MARCH MARCHES IN ON THE WEST SIDE OF THE STORY

Last Monday night I hosted an pre-theatre event for the Paley Media Center (formerly the Museum of Radio and TV) on West Side Story. This is the second time I have done something like this. The first was an evening devoted to Ethel Merman where I interviewed and bantered with Brian Kellow, the author of the latest Ethel Merman bio. I, of course was great friends with Ethel the last two years of her life so I contributed some of my best stories and anecdotes, not to mention some of my rare video and kinescopes to the proceedings. But that's last year. Now, I was asked to interview (very briefly) Alexander Bernstein (Leonard's son), Harvey Evans (a Broadway replacement Jet and one of the film Jets) and Eliot Feld (also a replacement for Baby John and the film Baby John). I started off with a little West Side history and then introduced Bernstein after which we showed the Ed Sullivan 1958 clip of the Cool number. After that I introduced Harvey and Eliot and asked them a few questions. They were marvelous. Lastly, we showed some of Harvey's home movies from the shooting of the movie and summed it all up. Dinner was delicous (we were at Blue Fin across from the Palace Theatre where the show is playing) and then we went off to see the show. This revival is much improved from the tryout in DC but still not the bees knees in my opinion. Still too much Spanish and not enough poetry in the staging or performances. Enough said. It opens next week and I am anxious to read the notices.

MORE FROM PLAYBILL ON LINE

Brakefield Company Will Produce New Film "Uncredited—The Marni Nixon Story"

By Andrew Gans
02 Mar 2009

Marni Nixon

The Brakefield Company, a new independent film and marketing company, will produce a screen version of Marni Nixon's autobiography, according to Variety.

"Uncredited — The Marni Nixon Story" is the title of the film, which is based on Nixon's book, "I Could Have Sung All Night."

The Nixon film will mark the first project for Brakefield, the company launched by marketing executive Shawna L. Brakefield.

No casting or timetable has been announced for the Nixon film.

Nixon is perhaps best known for dubbing the vocal performances of such film stars as Audrey Hepburn (in "My Fair Lady"), Deborah Kerr (in "The King and I") and Natalie Wood (in "West Side Story"). In "I Could Have Sung All Night" — penned by Nixon with Stephen Cole — she recalls her numerous Hollywood and Broadway experiences, including working with Julie Andrews, Leonard Bernstein, Liberace, Cary Grant, Otto Preminger and Victor Borge.

Marni Nixon was most recently on Broadway in the Tony-winning revival of Nine, and her other Main Stem credits include Follies, James Joyce's The Dead and The Girl in the Pink Tights. She played Aunt Alice in the film "I Think I Do" and Sister Sophia in the motion picture of "The Sound of Music." Nixon was recently seen as Mother Abbess in the Hollywood Bowl's presentation of The Sound of Music.

Nixon was seen earlier this season in the City Center Encores! staging of Music in the Air.

FROM PLAYBILL ON LINE

Film Forum Presents An Evening with Marni Nixon Feb. 23

By Andrew Gans
23 Feb 2009

Marni Nixon

The Film Forum presents a chat with Marni Nixon — who is perhaps best known for dubbing the vocal performances of such film stars as Audrey Hepburn (in "My Fair Lady"), Deborah Kerr (in "The King and I") and Natalie Wood (in "West Side Story") — Feb. 23 at the downtown Manhattan venue.

Film Forum's Bruce Goldstein and musical theatre writer Stephen Cole, co-author of Nixon's autobiography, will interview the famed singing actress. An Evening with Marni Nixon is scheduled to begin at 7:30 PM.

Marni Nixon was most recently on Broadway in the Tony-winning revival of Nine, and her other Main Stem credits include Follies, James Joyce's The Dead and The Girl in the Pink Tights. She played Aunt Alice in the film "I Think I Do" and Sister Sophia in the motion picture of "The Sound of Music." Nixon was also seen as Mother Abbess in the Hollywood Bowl's presentation of The Sound of Music. Nixon was also recently part of the cast of the City Center Encores! production of Music in the Air.

Admission is $20, $10 for Film Forum members.

Film Forum is located in Manhattan at 209 West Houston Street. For more information call (212) 727-8110 or visit www.filmforum.org.

Where Did February Go?

February was a whirlwind of activity leaving me with a cold and cough. It all began on February 2 with the Drama League Gala (see the pics) at the fabled Rainbow Room. I enjoyed the evening as all I had to do was get dressed up, drink, eat, schmooze and watch the show I helped to create. The highlights were the opening, a La Cage Aux Folles Medley featuring some of the original Cagelles, Lee Roy Reems, John Weiner and others. The second highlight was the campaign number from The Will Rogers Follies featuring Keith Carradine and many of the original girls. They stagings of both of these were recreated by Cady Huffman (she appeared in both shows) and they were so much fun to watch. Chita was great as usual doing a Can Can medley that my collaborator David Krane arranged at my suggestion. All in all a very successful evening. The next day I had my first of three lectures for a wonderful Elderhostel group visiting New York and learning about theatre. The first was a lecture on post Rodgers and Hammerstein musical theatre, which I decided meant concept musicals. They enjoyed the lecture, but I am sure I could have done better if I had more time and had done the lecture before. The next one was my usual "my life in musical theatre" lecture featuring the "road to qatar" story. I killed. It was almost as if I were doing a one man show or a standup comedy act. They laughed every time I said anything. The jokes and characterization all landed the way one only dreams they will. I followed this immediately with an interview with David Krane concentrating on his dance music career and showing videos from Chicago, Annie etc. This went very well and we are going to repeat it (along with my usual Qatar thing) at the end of March. But it was exhausting. Then came the next big event of the month, An Evening with Marni Nixon at the Film Forum. This turned out to be very successful as well. I interviewed Marni, they showed great clips and even though the evening went longer than I would have expected (and I was starting to get sick...two days before I had totally lost my voice) the audience was enraptured and the head of the Film Forum was ecstatic, saying I did the best job ever hosting an event there! Marni and I signed many books (see pic) and a great time was had by all. The next day I took to my bed and the cold and cough came with a vengeance! Ah well. That same night I also had a song premiere during the David Evans concert at Lincoln Center's Bruno Walter Auditorium. The wonderful Klea Blackhurst sang "Taking the Veil" the first song from Merman's Apprentice to be heard in public. I am told (I couldn't be there because I was at the Film Forum) it went brilliantly and that it was the hit of the evening. I will see it on DVD and I am sure I will agree. Klea of course will make a wonderful Ethel Merman...how could she not?

Oh yes, inbetween all this was the York Theatre reading of The Road to Qatar! which, to my mind, was variable. Not perfectly cast and very under rehearsed, still it went well. As the author I cringed when lines that always get laughs got none...this is not fun. And now, we are faced with the idea of cutting the show down so that we can eliminate an intermission and play it all as a romp in one fell swoop. This is frightening and exciting at the same time. Losing about 20 minutes of material you love is not easy. Well...onward and up I guess.

Now it's March and things have slowed down again. I found out that Time after Time will get first a reading in August (end) and then a full fledged production at Point Park University in Pittsburgh in the winter of 2010. Rewrites!!!!!