WHITE NOISE is a cautionary musical that re-imagines the adage "when good men do nothing evil happens." Its tale is how hate can be taught, fear can be learned and intolerance can be sold when harnessed, polished and packaged correctly.
Infused with the energy, power and dark underbelly of the music industry, WHITE NOISE is the story of siblings who use their music to promote prejudice to a desensitized America, the middlemen who endorse them purely for monetary gain, and the bystanders who in their passivity allow it all to happen.
Revolutionary, sensational, and frighteningly entertaining, WHITE NOISE will engage today's audiences, attract educators and ignite a nationwide dialogue on a reality to which we are immune.
The production will begin rehearsal in September of 2008 and open in New Orleans in January after a late fall presentation. A Broadway opening is planned for May 2009.
Sibling Theatricals, Inc. Sibling Theatrical's, Inc., is a division of Sibling Entertainment Group Holdings, Inc. (OTCBB:SIBE), a publicly traded, vertically integrated entertainment company spanning music, film, theatre, real estate (Sibling operates the New Denver Civic Theater in Denver, CO) and sports. Founded by Mitchell Maxwell, a Tony and Pulitzer Prize winning producer of over thirty-five years, Siblings' executive management team has produced dozens of shows on Broadway, Off-Broadway, on the West End, national tours and regionally. Credits include: Broadway: DAMN YANKEES starring Jerry Lewis, BROOKLYN, BELLS ARE RINGING, PLAY ON!, NUNSENSE, among others; Off-Broadway: STOMP, DINNER WITH FRIENDS (winner of the 2000 Pulitzer Prize), OLEANNA, MARVIN'S ROOM, JEFFREY, ONCE AROUND THE SUN, Harvey Fierstein's TORCH SONG TRILOGY. In addition, they have produced numerous independent films starring A-list actors and comedians including JEFFREY, starring Sigourney Weaver, Patrick Stewart, Olympia Dukakis, Nathan Lane, among others. Their productions have been honored with nominations for 10 Tony Awards, 6 Olivier Awards, 15 Outer Critics Circle Awards, 9 Drama Desk Awards and 3 Obie Awards. They have won the Tony, Drama Desk, Outer Critics Circle, Obie and Ovation Awards, as well as the 2000 Pulitzer Prize for Drama. Mitchell Maxwell is president.
Holly Way & Co. is a marketing strategy and innovation firm that serves as an idea catalyst for businesses and projects of significance. Prior to launching her own company, Holly enjoyed a 16-year marketing career in the highly-competitive gaming industry. The majority of that career was spent in several key marketing executive positions with Harrah's Entertainment, the world's largest provider of branded casino entertainment. As Vice President of Brand Activation for Harrah's, Holly developed ground-breaking promotions, events and strategic partnerships for all 14 of the company's nationwide brands. Holly began her theatrical career in 2006 with the launch of Sibling Theatricals' critically acclaimed HATS! The Musical in New Orleans, and subsequently aided in the development of the New York-based production into a variety piece, while spearheading the marketing campaigns. Strongly dedicated to her home city of New Orleans, Holly serves on the board of the Arts Council of New Orleans, chairing the Development Committee, and is a founding board member of the Greater New Orleans First Responders Fund. Holly is committed to making WHITE NOISE the first Broadway-bound musical to launch in New Orleans.
WHITE NOISE premiered in New York City in the New York Musical Theater Festival to tremendous critical acclaim. After an extended, sold-out and award-winning run, WHITE NOISE was optioned by Sibling Theatricals for development as a Broadway caliber show under the auspices of veteran Broadway producer, Mitchell Maxwell.
Throughout our modern history, there has been a hunger for socially-relevant entertainment. Some of the most financially successful and most influential pieces of entertainment tackle serious, if not disturbing social issues. THE BIRTH OF A NATION (1915) remains the single most important and inflammatory move ever made, grossing what would equal over 1 billion in contemporary dollars. THE PASSION OF THE CHRIST (2004) ranks as the highest grossing rated R movie ($370 million). Musicals such as CABARET, MISS SAIGON, RENT, SOUTH PACIFIC, and WEST SIDE STORY (all of which dealt with the more serious, darker issues of their time) inarguably rank among the richest, most reproduced and culturally influential. For example, in its seven year run, the revival of CABARET in 1998 grossed nearly $120 million on Broadway alone (tours, additional companies and licenses not included). The ten-year MISS SAIGON (1991) run on Broadway grossed nearly $300 million, while to date RENT has grossed nearly the same throughout its thirteen-year run on Broadway (again, tours, additional companies and licenses not included).
Broadway's recent DOUBT (2005), about a priest who molests a pupil is the most successful financial paradigm for a non-musical play in Broadway history (approximately $28 million in ticket sales during a 2 year limited engagement). OLEANNA (1992), about sexual harassment in the workplace, was deemed "the most important play of the year." DINNER WITH FRIENDS (2000), which examines the demise of adult relationships and divorce, was the recipient of the 2000 Pulitzer Prize. Unlike some of these outstanding and compelling works, whose themes are relevant, but affect limited numbers, WHITE NOISE touches the nerve of the American fabric and applies to no focused target-it is a piece that will forge a call to arms.
The issues raised by WHITE NOISE and the dialogue it inspires transcend preconceived markets, as they are universal and unavoidable. They demand the attention of parents, children, educators, the media and national intelligentsia, uniquely positioning WHITE NOISE to be the centerpiece of a national education campaign against hate and hate crimes. The producers of WHITE NOISE are teaming up with strategic partners to develop a board-certified educational curriculum to be instituted in high schools and universities across the country.
Nearly every recent analysis of Broadway has concluded that the Baby Boomer demographic is the foundation of the Broadway audience. Analyses of the general American consumer reveal that the most sought-after demographics by major corporations across the country are the 18-35 and slightly younger "tweener" markets. The universality of the themes of WHITE NOISE, coupled with its edgy theatrical form and musical style, uniquely positions WHITE NOISE to appeal to this Boomer market, in addition to these attractive younger audiences (much like the Tony award-winning musicals RENT and SPRING AWAKENING accomplished). WHITE NOISE is poised, therefore, to create strategic alliances with corporate sponsors, further securing its place alongside the great American Broadway musicals.
