PLANE CRAZY, musical about feminism, as told through the eyes of
swinging mid-'60s stewardesses, was one of 18 musicals out of over 400 selected for the 2005 New York Musical Theatre Festival.
PLANE CRAZY opens its first post-NYMF workshop on February 16. In
addition, the song "Turbulence" from the show will be featured at the
NYMF "Best of Bash" on February 27 -- a one-night only concert at Dodger
Stages featuring highlights from some of the favorite NYMF shows over
the first two years of the Festival.
In this refreshingly honest article, author Suzy Conn talks about the
challenges of running a solo project.
Rules to live by: Always wear clean underwear, always use a condom,
and never, ever write a musical by yourself!
Producing PLANE CRAZY at the 2005 New York Musical Theatre Festival
(NYMF) was life-changing, exhilarating, frustrating and rewarding. Oh,
and a dream come true.
But nothing compared to life after the Festival!
I like to think of myself as Dr. Frankenstein, and NYMF as the bolt of
lightning that brought my creature to life. However, after it rose from
the table, it wasn't pretty.
Don't get me wrong. We sold out all of our nine performances, and we
generated tremendous audience feedback, especially amongst those
ticket-buyin' women over 40!
It was rewarding to see the press and audience reaction to the concept
of the show, which seems to have hit a real chord. Everyone had such a
great time that some of the cast threw another PLANE CRAZY party a week
after we closed!
Woohoo -- September was a real ride!
October was hell.
After 9 performances you get a pretty good idea what is and isn't
working. Going into NYMF, I knew the show wasn't perfect, and that the
Festival would be a step along its creative evolution. For instance, I
knew there was way too much dialogue. But how would I know what to cut
without seeing it up and hearing the audience reaction? It's like John
Wanamaker, the "father of the department store", used to say:
"I know half the money I spend on advertising is wasted, but I can never
find out which half."
Luckily, I could find out "which half". So I spent the beginning of
October talking to everyone I could find -- creative team, cast,
audience members, industry people -- gathering feedback both positive
(yeah!) and negative (gulp), and really listening to the little voices
in my head (the non-violent ones, anyway). I had me a mess o-rewritin'
And that's when it dawned on me. It really is nuts to do the book, music
and lyrics all by yourself.
First of all, there's the psych-out factor. Before NYMF, I could toil
away in obscurity, taking my sweet time mucking about with the script.
But after NYMF there were the dreaded...expectations! From family,
friends, investors, cast members, NYMF, interested producers, all
wondering what I was going to write and when I was going to be finished.
Suddenly people were INTERESTED!
And when you're working on your own, who do you freak out on? You end up
talking yourself down off a ledge, which can have mixed results. You and
you alone have to be "up" all the time whenever you talk to anyone,
anywhere, anytime about the status.
"Oh, yes, it's coming along swimmingly...just a few tweaks here and
Secondly, there is the sheer volume of work. Book. Music. Lyrics. All
have to be revisited, all have to be re-thought. And when you're on a
deadline...that can be daunting.
Thirdly, there is a palpable "hmmm" factor from producers and other
interested parties when they find out you are the only writer on a
project. Are you going to be a diva? Will you be unwilling to bend or
change or take advice? Will the book writer, composer, and lyricist have
nervous breakdowns, all at the same time?
Then there is the fundamental collaborative nature of musical theatre
itself. The ideas that flow back and forth amongst the creative team
(and technical team as well) significantly contribute to the whole. So
it stands to reason the same creative collaboration effect would be a
good thing amongst two or three writers.
Long story short, as I head into a two-week Toronto workshop of a
revised PLANE CRAZY I am still juggling all three -- book, music and
lyrics. I am very lucky to be able to "test" the changes that I made
coming out of NYMF so quickly. And I am particularly lucky to be doing
it in a school setting where I can focus on the work itself through a
fairly luxurious rehearsal process, and not be freaked about the