[title of show] Arizona Theatre Company Play Guide 1

[title of show]
Play Guide
Arizona Theatre Company Guide 1

[title of show]
CONTENTS SPONSORS
TABLE OF CONTENTS
3 WHO WE ARE
4 INTRODUCTION TO THE PLAY
4 THE CHARACTERS
5 SYNOPSIS
6 MUSICAL NUMBERS
7 HUNTER AND JEFF
8 RAGS TO RICHES: [title of show]'s JOURNEY TO BROADWAY
13 [tos]sary
16 YOUNG IN NEW YORK
19 WRITER'S BLOCK
21 MUSICALS ABOUT MUSICALS (AND PLAYS ABOUT PLAYS)
26 MUSICAL THEATRE CROSSWARD PUZZLE
It is Arizona Theatre Company’s goal to share the enriching experience of live theatre. This play
guide is intended to help you prepare for your visit to Arizona Theatre Company. Should you
have comments or suggestions regarding the play guide, or if you need more information about
scheduling trips to see an ATC production, please feel free to contact us:
Tucson: Alison C. Terry
Education Manager
(520)884-8210 ext 8506
(520)628-9129 fax
Phoenix: Cale Epps
Education Associate
(602)256-6899 ext 6115
(602)256-7399 fax
[title of show] Play Guide compiled and written by Jennifer Bazzell, Literary Manager with
special assistance from Nat Cassidy. Discussion questions, and activities prepared by Sara
Bernstein, Phoenix Education Manager; Alison C. Terry, Tucson Education Manager; Cale Epps,
Phoenix Education Associate and Megan Dallas, Education Intern. Layout by Gabriel Armijo.
Support for ATC’s Education and Community Programming has been provided by:
Organizations
APS
Arizona Commission on the Arts
Blue Cross Blue Shield of Arizona
City Of Glendale
City Of Peoria
Community Foundation for Southern Arizona
Freeport-McMoRan Copper & Gold Foundation
National Endowment for the Arts
Phoenix Office of Arts and Culture
PICOR Charitable Foundation
Scottsdale League for the Arts
Target
The Marshall Foundation
The David C. and Lura M. Lovell Foundation
The Hearst Foundation, Inc.
The Maurice and Meta Gross Foundation
The Max and Victoria Dreyfus Foundation
The Stocker Foundation
The Stonewall Foundation
Tucson Electric Power Company
Tucson Iron & Metal
Tucson Pima Arts Council
Individuals
Mr. and Mrs. Rob Aronoff
Mr. Randy Brookshier
Ms. Penny Buckley
Mr. and Mrs. Larry A. Cesare
Mr. and Mrs. Robert Clark
Mr. and Mrs. Tyrone Clark
Mr. and Mrs. Leonard Coris
Mr. and Mrs. Darryl B. Dobras
Mr. and Mrs. Bruce L. Dusenberry
Mr. and Mrs. Robert Glaser
Ms. Roseanne Gonzalez
Mr. and Mrs. Richard F. Imwalle
Mr. Bill Kelley
Drs. Steven and Marta Ketchel
Mr. and Mrs. David Krogen
Mr. and Mrs. John Lamse
Mr. Raul Leon
Mrs. Ann C. Lynn
Mr. and Mrs. Doug McClure
Mr. and Mrs. Fred A. Nachman III
Ms. Dana Pitt, Donald Pitt Family Foundation
Ms. Sandra D. Rutherford
Mr. Marc Sandroff
Drs. John and Helen Schaefer
Ms. Gretchen H. Shine
Mr. Jeffrey Sorrentino
Mr. Joe Tarver and Ms. Peggy Johnson
Ms. Teresa Welborn
Dr. Raymond L. and Mrs. Julianne Woosley
Arizona Theatre Company Play Guide 2

[title of show]
ARIZONA THEATRE COMPANY: WHO WE ARE
Thousands of people make our work at ATC possible!
WHO WE ARE
Arizona Theatre Company is a professional, not-for-profit theatre company.
This means all of our artists, administrators and production staff are paid
professionals, and the income we receive from ticket sales and contributions
goes right back into our budget to create our work, rather than to any particular
person as a profit.
Each season, ATC employs hundreds of actors,
directors and designers from all over the country
to create the work you see on stage. In addition,
ATC currently employs about 100 staff members
in our production shops and administrative offices
in Tucson and Phoenix during our season. Among
these people are carpenters, painters, marketing
professionals, fundraisers, stage directors, computer
specialists, sound and light board operators, tailors,
costume designers, box office agents, stage crew
-the list is endless- representing an amazing range
of talents and skills.
Herberger Theatre in Phoenix, Arizona
We are also supported by a Board of Trustees, a
group of business and community leaders who
volunteer their time and expertise to assist the
theatre in financial and legal matters, advise in
marketing and fundraising, and help represent
the theatre in our community.
Roughly 150,000 people attend our
shows every year, and several thousands
of those people support us with charitable
contributions in addition to purchasing
their tickets. Businesses large and small,
private foundations and the city and
state governments also support our
work financially.
All of this is in support of our mission: to
create professional theatre that continually
strives to reach new levels of artistic
Temple of Music and Art in Tucson, Arizona
excellence and that resonates locally, in the state of Arizona and throughout the
nation. In order to fulfill its mission, the theatre produces a broad repertoire ranging
from classics to new works, engages artists of the highest caliber, and is committed to
assuring access to the broadest spectrum of citizens.
Arizona Theatre Company Play Guide 3

[title of show]
[title of show]
Music & Lyrics by Jeff Bowen, Book by Hunter Bell
INTRO
CAST
INTRODUCTION TO THE PLAY
How do we begin our play guide for [title of show] if we
want our play guide for [title of show] to be the best play
guide for [title of show] ever? Well, first we must put in
the obligatory information (see above) like the name of
the play, i.e. [title of show] and the people who wrote
it (shout out to Hunter and Jeff). Then we’ll need to
put in a whole bunch of info that hopefully won’t be a
snooze-fest to those of you reading it. It’ll get more and
more awesome as we add more and more awesomely
awesome stuff to it. Then, it’ll be made pretty by our
layout person who makes it all snazzy-looking. And
then (hopefully) you’ll read it! And you’ll be all prepped
to see the musical about making a musical!
THE CHARACTERS
Hunter: A young musical theatre writer and actor living
in New York who desperately wants to submit a musical
for the New York Musical Theatre Festival (played in ATC’s
production by Stanley Bahorek)
Jeff: A young musical theatre writer and actor living in
New York who desperately wants to submit a musical for
the New York Musical Theatre Festival (played in ATC’s
production by Sal Sabella). Caveat: It sounds from this
description as if he and Hunter are the same person, but
they are not at all.
DID YOU KNOW...?
that [title of show] IS actually
the title of [title of show]?
Rendering for scenic design for
[title of show] by designer John Ezell
Actor Stanley Bahorek who plays Hunter in ATC’s
production of [title of show]
DID YOU KNOW...?
that characters Hunter and Jeff are based on [title of show] creators Hunter Bell
and Jeff Bowen? (You probably figured that out based on the names, right?)
Arizona Theatre Company Play Guide 4

[title of show]
Heidi: A good friend of Hunter’s who helps while he and Jeff write
their musical. She is a full-time actor and has been on Broadway
(played in ATC’s production by Kelly McCormick).
Susan: A friend of Jeff’s who helps while he and Hunter write their
musical. Susan has a “real job” (played in ATC’s production by
Lauren Lebowitz).
Larry: The guy who plays the piano for the show (in ATC’s
production, Christopher McGovern).
Actor Sal Sabella who plays
Jeff in ATC’s production of
[title of show]
DID YOU KNOW...?
that [title of show] director David Ira Goldstein had the
cast work on their own original musical theatre piece
throughout the rehearsal process of [title of show] so their
experience would mirror that of the characters in the play?
SYNOPSIS
SYNOPSIS
Imagine two hyper-talented
young songwriters in New
York trying to write a new
musical about two hypertalented
young songwriters
in New York trying to write
a new musical?! That’s [title
of show], the deliciously
smart and tuneful musical A view of New York, the awesome city where [title of show] takes place
that wowed Broadway audiences
and critics last fall. It’s a dizzy, unpredictable, and uproarious tongue-in-cheek musical about
show business and making one’s dreams come true. Follow Jeff, Hunter, Heidi and Susan as they
negotiate a musical theatre obstacle course of finding backers, casting singers, and making it
to Broadway. Fresh, funny and playful, [title of show] is a Cinderella tale set to music about the
journey from the unemployment line to the Great White Way.
Delectable entertainment! Hilarious! A fresh new musical worth cheering!"
-- The New York Times.
BUT IS IT ALL TRUE?
“The fun answer is ‘Yes…except for the parts that aren’t.’”
– Hunter Bell & Jeff Bowen
Arizona Theatre Company Play Guide 5

[title of show]
MUSICAL NUMBERS
MUSIC
Untitled Opening Number........ Company
Two Nobodies in New York....... Jeff & Hunter
An Original Musical........Jeff & Blank Paper
Monkeys and Playbills........Company
The Tony Award Song.........Jeff & Hunter
Part of It All.........Jeff & Hunter
I Am Playing Me........Heidi & Others
What Kind of Girl is She?..........Heidi & Susan
Die, Vampire, Die!..........Susan & Others
Filling Out the Form..........Company
Actor Kelly McCormick who plays Heidi in
ATC’s production of [title of show]
DID YOU KNOW...?
that “Die, Vampire, Die!” is not about
any of the vampires from Twilight?
Montage Part I: September Song........Company
Montage Part 2: Secondary Characters........Heidi & Susan
Montage Part 3: Development Medley.........Company
Change it, Don't Change it...........Company
Awkward Photo Shoot.........Company
A Way Back to Then.........Heidi
Nine People's Favorite Thing...........Company
Finale.........Company
Actor Lauren Lebowitz who plays Susan in
ATC’s production of [title of show]
Arizona Theatre Company Play Guide 6

[title of show]
BELL & BOWEN
HUNTER AND JEFF
Hunter Bell (Book) wrote the book and co-starred in
the Broadway production of [title of show]. He received
an OBIE Award and Tony Award and Drama League
nominations for [title of show]. Writing credits include,
Silence! The Musical (book writer/Overall Excellence
Award—Outstanding Musical 2005 Fringe NYC), Stuck
By Epcot (playwright/Manhattan Theatre Source), A Train
Plays (lyricist/Neighborhood Playhouse), Ringling Bros.
and Barnum & Bailey Circus (writer/2007 Circus). He
contributed material for Counts Media Inc.'s interactive
billboard project, was a 2003 finalist in Warner Bros. Hunter Bell
Television Comedy Writers Workshop, and has developed
new works at the Dramatist Guild, Irish Repertory Theatre, PS 122, Goodspeed Musicals/
Chester, CanStage, Manhattan Theatre Club, Ars Nova, and The Eugene O'Neill Theater
Center. As an actor, Mr. Bell made his Broadway debut in How the Grinch Stole
Christmas. He appeared in The Taming of the Shrew, ...Forum, Gypsy (The Repertory
Theatre of St. Louis); She Loves Me, The Most Happy Fella (Cincinnati Playhouse in
the Park); Anything Goes (Great Lakes Theater Festival); Godspell (The Muny); Little Me
(North Shore Music Theatre); The Tempest (Dallas Shakespeare Festival); Side Show (The
Cleveland Play House); Romeo and Juliet, The Boys from Syracuse (Alliance Theatre);
Jumbo; Oh, Boy! (The York Theatre Company); South Pacific (Carnegie Hall); The Last
Night of Ballyhoo (Coconut Grove Playhouse); Rags (Paper Mill Playhouse); Promises,
Promises (Stages Repertory Theatre); Me And My Girl (Goodspeed Musicals: Outer
Critics Award— Best Actor in a Musical). Mr. Bell’s television credits include Out of the
Box (Disney Channel) and Guiding Light. He received his BFA from Webster University.
DID YOU KNOW..?
that Hunter Bell wrote the book for the successful
musical Silence! The Musical, which parodied the
1991 film The Silence of the Lambs? (You should
have, it’s mentioned in his bio on this page.)
“[title of show] began in the Spring of 2004. I was working at my day job in New York City
(packing book boxes) and received an email from my friend Jeff Bowen. That email mentioned
a new musical theatre festival that was accepting submissions of new works. With three weeks
until the submission deadline, my writing partner (Jeff) and I made a commitment to write
and create for three weeks, and (just as it is represented in the opening phone call scene) no
matter what we had, we would put that in an envelope and submit it. So, that is what we did.”
–Hunter Bell
Arizona Theatre Company Play Guide 7

[title of show]
BELL & BOWEN JOURNEY
Jeff Bowen wrote the music and lyrics and costarred
in the Broadway production of [title of
show]. He was awarded an OBIE for his work
on [title of show], and has composed music for
several shows at PS 122, including Avant Gardea-Rama
in Sparklevision and Hello, My Name Is
Avant Garde-a-Rama. Also, Sparklefest 2000 at
Dixon Place, The A Train Plays and the film Boat
Mime. His onstage credits include The Who's
Tommy, The Diviners, The Doctor in Spite of
Himself, Of Thee I Sing, The Sandbox and On the
Twentieth Century, among others. Jeff is a proud
member of the National Audubon Society and the
American Birding Association.
Jeff Bowen
DID YOU KNOW..?
that Jeff Bowen really does get “hangry,” a word used to describe
when someone is a combination of hungry and angry simultaneously?
RAGS TO RICHES: [title of show]’S
JOURNEY TO BROADWAY
Watching [title of show], the deliciously witty musical that
wowed Broadway audiences in the fall of 2008 is like holding
a mirror up to a mirror. The plot centers on Jeff and Hunter who
are racing to write and produce a musical for an upcoming
theatre festival just weeks before the festival's submission
deadline. The audience quickly realizes, however, that the
musical which the characters are writing is the musical which
the audience is watching. It's a wonderfully theatrical set-up for
a show that takes a look at what it takes to create a Broadway
show, both artistically and from a producer's point of view. It is
a celebration of making one's dreams come true against all odds
and in the face of a world that says “No, you can't.”
DID YOU KNOW..?
that [title of show] was on Broadway only about a year and a half ago?
The original poster for
[title of show]
Arizona Theatre Company Play Guide 8

[title of show]
JOURNEY
Rendering for scenic design for
[title of show] by designer John Ezell
[title of show] began when Jeff Bowen and Hunter Bell
entered the show for consideration as part of the inaugural
New York Musical Theatre Festival. NYMF's annual new
works festival produces approximately 30 productions
alongside a number of readings, concerts, educational
seminars, and other special events. The festival gives artists
the crucial chance to hone their craft and develop projects
in the most effective manner— by realizing new musicals
in three dimensions before a live and responsive audience
— and delivers greater production value and promotional
reach than its participants could otherwise afford or
access. Since its inception in 2004, the New York Musical Theatre Festival has proven to be a
remarkably effective launching pad, with over forty shows transferring to successful productions
on Broadway, off-Broadway, regionally, on tour, and around the world.
After playing to full houses in the 2004 festival, [title of show] transferred to off-Broadway's
Vineyard Theater in March 2006, where it extended its run and then made a return eight-week
engagement that summer. A cast recording was made of the Vineyard Theater production by
Ghostlight Records, and the production won three OBIE Awards (Special Citations for creators
Hunter Bell and Jeff Bowen and director Michael Beresse), presented by the Village Voice in
recognition of excellence Off-Broadway.
DID YOU KNOW..?
that Broadway Avenue dates back the first New Amsterdam settlement,
before the city was called New York? And that the name is an English literal
translation of the Dutch name, Brede weg? Well, now you do. (What exactly
you’ll do with the information I can’t imagine, but now you know.)
The first Broadway show of the 2008-2009
season, [title of show] opened at the Lyceum
Theatre in July 2008. Updated to reflect the
journey of the show from NYMF to the Vineyard
to Broadway, and reflecting the creative and
personal issues artists face in pursuit of their
dreams, the show ran for 13 previews and 102
performances from July 5 – October 12, 2008.
[title of show] was nominated for a 2009 Tony
Award for Best Book of a Musical.
Arizona Theatre Company Play Guide 9

[title of show]
AN INTERVIEW WITH HUNTER AND JEFF
INTERVIEW
[title of show] is a musical about two guys racing to write
a musical to submit to a theatre festival. It’s a warm and
delightful love letter to the creative process, and it was
extremely well-received by New York critics. You want to try
describe it any better than that?
HB: Actually, that’s pretty darn good. Jeff and I had collaborated
in the past, and wanted to get writing again so when the inaugural
season of NYMF came up (we found out about it three weeks
before the deadline), we decided just to start writing, send
something in and see what happened. In that process, we found
that the most interesting thing, and what made us laugh and think
the most, was us trying to create, and talking and singing about
why and how we create.
Hunter & Jeff in formal attire
JB: Yeah, that was pretty good. The show is really simply the story about the show you’re
watching from its initial idea to the night it opened at the Vineyard.
What had been your writing experience beforehand, both separately and as a team?
HB: We had collaborated on a musical adaptation of 9 to 5, which went well. I think from
that experience, we learned that we loved working together and that it could be done,
we just had to sit down and do it. Also, Jeff and fellow cast mate Susan Blackwell, had
worked and written a lot together for pieces at various venues, PS 122, Dixon Place, and I
got in on some of that action too. I also wrote the book for Silence! The Musical for the NY
Fringe Festival, had a short play of mine done at Manhattan Theatre Source, and written
pilots, spec. scripts, and industrials.
You’d both been involved in different aspects of the business before writing—as
working musical theatre actors, writing for various projects, and working behind the
scenes of the industry. Why did you finally decide to write a show for yourselves?
HB: A few reasons. I love musical theatre, but lately, I’ve felt like I wasn’t surprised by
what I was seeing. So, Jeff and I wanted to just try and create something we’d like to sit
through. Also, from a performer’s point of view, I loved the idea of creating a vehicle for
my friends and me. Having that sense of ownership just made me much more confident
as a performer. There was no right or wrong, no preconceived notion of what the role
was. It was what we came up with. Also, a lot of artists whose work I admire is sort of
self-generated, Eddie Izzard, Margaret Cho, Ricky Gervais, Lily Tomlin, Christopher Guest,
Rosanne…these are all people who inspire me because they create great material for
themselves…they didn’t necessarily wait for someone else to do it for them…they just did
it themselves.
Arizona Theatre Company Play Guide 10

[title of show]
INTERVIEW
JB: I had hit a point
in my life where the
theatre had become
extracurricular again.
There was really no
pressure at all to just
work on something
that we just wanted to
have fun with and do
for ourselves. There
was really nobody to
try and please except
us. We loved the
idea of just gathering
together our friends
and having fun again.
How did you first
fund the project for
the New York Musical
Theatre Festival, its
first production?
HB: Our dear friend,
and a current producer
on the project, Laura
Camien, had a small
company she had
started (Bridge Club
Productions) in
association with the
Manhattan Theatre
Source. She had a
few nights available
The application for the New York Musical Theatre Festival
in that space and had
approached us. We figured if we didn’t get into the NYMF, we’d just perform the piece for friends and
peeps at the Source; when we did get in to the festival, Laura and Bridge Club Productions funded
that incarnation.
JB: Also, we kept the costs way down by having a simple set (four chairs) and using only one
instrument (a piano). We eliminated any ideas of an ensemble beyond Larry and the four of us
because we didn’t want to have to spend too much time coordinating schedules or reimbursing
folks with Metrocards. We would have loved to have a full orchestra and a turntable, but we were
trying to be realistic.
Arizona Theatre Company Play Guide 11

[title of show]
INTERVIEW
Within the show, the characters that represent you guys talk very consciously about
not wanting to “sell out” and make changes in cast and content. How do you keep
[title of show] the feel-good love bonanza that it’s been since its early stages, when
there’s so much money involved?
HB: Well there’s more money, but it’s not ten million…yet! I think the cool thing with this
piece is that every experience was fodder for material in the show. There were pressures
when you begin to open up and bring in commercial producers. My first thought was, I
know how to write when we are just downtown and playing, but I don’t know how to write
an Off-Broadway show. The great thing was to just constantly check in with my friends who
happened to be my collaborators, and remind ourselves to welcome outside ideas, but
at the end of the day, say what we want to say. Plus, we could talk about those fears and
pressures directly in the show.
JB: It’s interesting because we did make a lot of changes. We didn’t want to “sell-out,”
but we weren’t fools; we wanted to entertain people and that was going to involve a bit of
old-school musical theatre rules. We made many modifications as most musicals do when
they’re growing up and making their way towards production, but we (the cast and Michael
Berresse, our director) were blessed with having a bit of necessary stubbornness that
allowed us to make changes but use our own voices when doing so. Ultimately, we always
arrived at something we believed in and trusted.
The characters names are Jeff and Hunter. Okay, so you’re playing you, and you’re you,
but you’re not you, because you’re playing you, alongside your real-life friends—it’s
enough to turn a person cross-eyed. What is it like interacting with audiences who are
getting close-up views and versions of your actual off-stage personas? Have you had
any crazy identity crises, or loony stalker fans who can’t separate meta-fiction from
reality?
Hunter & Jeff a little
less formal
HB: It’s been interesting. The characters are certainly based
on us, but they are not completely us. They are these kind
of heightened theatrical versions of Hunter and Jeff. But
more than any other show I’ve done, people do seem to feel
a deeper connection to us after they’ve seen the show. It’s
funny, sometimes I’ll meet people after the show, and when
I introduce myself, I’ll say, “I’m Hunter”..and they say “We
know.”
JB: No stalker fans…(fingers crossed)…yet!
- Interviewed by Joanna Parson (reprinted with permission) from
http://www.actorslife.com/article.php?id=109
Arizona Theatre Company Play Guide 12

[title of show]
[TOS]SARY
[tos]sary
Before you come to the dizzy, unpredictable, and uproarious tongue-in-cheek musical about show
business and making one's dreams come true, we recommend brushing up on some musical
theatre history and adding some contemporary New York City colloquialisms to your vocabulary:
Alice Ripley - Unbelievable Broadway actress and belter. As in, “Alice
Ripley was f’in fierce in Side Show.”
Ass-broke - Without funds. Used like, “If I don’t get that check from
Paper Mill, I’m gonna be ass-broke, y’all.”
Bagels and Yox - 1951 Jewish review that ran on Broadway around
the same time as Borscht Capades.
Betty Comden and Adolph Green - Book writers and lyricist of many
musicals. As in, “Adolph, quit fartin’ around and help Betty write those
Will Rogers Follies lyrics.”
The über-talented
Alice Ripley
Comeden and Green –
awesome musical writers
Bitches - Friends, pals, loved ones. As in, “I appreciate you bitches being
so supportive at my grandma’s funeral.”
Brazilian wax - Depilatory treatment that hurts like a mother f’in bitch.
Bus and truck - The tour of a show that usually plays short gigs in many
cities. Heidi may say, “Y’all, should I audition for that bus and truck of
Seussical?”
Commodore 64 - Computer released in August of 1982. As in, “Hunter,
I just got Donkey Kong for my C64!”
Dan Pessano - “Daddy Warbucks” to Heidi’s “Annie” in 1982. Heidi
may say, “Y’all, should I audition for that production of Hello, Dolly! that
Dan Pessano is directing?”
1980s computer system
the Commodore 64
Dinah Manoff - (See “Empty Nest”).
See “Empty Nest”
Arizona Theatre Company Play Guide 13

[title of show]
[TOS]SARY
Dixon Ticonderoga - A soft, number 2 pencil. Used like, “Jeff prefers to
write songs with a Dixon Ticonderoga, not an f’in Faber-Castell.”
John Cameron Mitchell –
does putting his picture
in here mean we’ll get
to meet him?
Doc Hollywood - 1991 film featuring Michael J. Fox, currently running
every hour on the hour on TBS.
Empty Nest - (See Dinah Manoff).
Henry, Sweet Henry - The best damned Don Ameche musical ever.
John Cameron Mitchell - Talented creator of Hedwig and the Angry Inch.
Used like, “Susan thinks by saying John Cameron Mitchell’s name in the
show it increases her chances of meeting him.”
Ken Billington - Lighting designer of A Doll’s Life, Annie Warbucks and
[title of show].
Kwamina - Interracial musical from 1961 with music and lyrics by
Richard Adler. Used like, “You can borrow my Kwamina record, but I’ll
kill you if you scratch it.”
Lynda Carter - The most beautiful actress in the world. For example, “If
Jeff wasn’t gay, he’d have a serious boner for Lynda Carter.”
Mamie Duncan-Gibbs - Talented theatre actress and star of Chicago.
One of Mamie’s friends may say, “Mamie Duncan-Gibbs, that’s my girl!”
Mary Stout - Lovable Broadway actress. As in “Mary Stout
was excellent as ‘Enid’ in A Change in the Heir.”
Lynda Carter as Wonder
Woman easily deflecting
bullets with her bracelet
DID YOU KNOW..?
that [tos]sary is not a real word?
Me doots - A variant pronunciation of “my doubts.” As in, “I hope this [tos]sary helps explain
[title of show], but I have me doots.”
Mexcellent - When something is both Mexican and excellent. Used like, “My travel agent
Eileen said Cancun was Mexcellent this time of year.”
Pink Sawdust - A deodorizing powder developed to absorb and neutralize vomit odors.
Arizona Theatre Company Play Guide 14

[title of show]
[TOS]SARY
Roller Coaster Tycoon 3 - PC game for lonesome nerds. Jeff may say, “My
Roller Coaster Tycoon 3 upgrade better have arrived in the mail today or
I’m going to be sad.”
Roma Torre - NY One anchor and notable theatre critic. Our press agent
may say, “I hope Roma Torre doesn’t rip [title of show] a new a’hole.”
Seafood Mare - Chelsea eatery featuring outdoor dining. A Chelsea boy
may say, “I was sitting outside at Seafood Mare when--oh, my god, there’s
Tim Gunn.” (see Tim Gunn)
S'luck - An appropriate response to “Wish us luck!”
Smell-em-ups - Any scented room sanitizer.
Smell-O-Vision - A 60’s invention that allows audience members to smell what they’re
watching. As in, “When Susan eats Chinese food, it’s fortunate for the audience that the show
isn’t in Smell-O-Vision.”
Starlight Express - Andrew Lloyd Webber + roller skates = AMAZING!
The Gray Lady - The New York Times. As in, “The Gray Lady could take the
Post in a cage match any day.”
The O'Neill Center - Connecticut-based summer camp for grown-up theatre
nerds. Hunter may say, “I made out hard with that dude at The O’Neill
Center.”
The Rink - Kander and Ebb musical from 1984 that starred Chita and Liza.
Where’s a time machine when you need it?
Tim Gunn - Design mentor of TV’s “Project Runway.” Used like, “I saw Tim
Gunn walk by Seafood Mare.”
Tippy Turtle himself alongside
the infamous Pete the Pirate
Fashionable Tim Gunn from
“Project Runway”
Tippy Turtle - Iconic reptile used as a litmus test
for aspiring artists. For example, “My “Tippy Turtle”
drawing wasn’t so good, but my “Pete the Pirate”
totally rocked.”
Word - Street vernacular. Short for “word to your
mother.” As in, “Word.”
-reprinted from www.titleofshow.com
Arizona Theatre Company Play Guide 15

[title of show]
YOUNG
YOUNG IN NEW YORK
Ahhh…to be young. Or, more specifically, to be young in New
York. Those four words, “young in New York” bring about one word
in the minds of those artists who have lived it – “bro-oke.” (Okay,
maybe that’s one and half words, but you get the point).
To be a young and struggling artist in New York City is a rite of
passage for many performers. Fresh-faced and eager from either
high school or various college theatre programs across the country,
young artists pour into the New York City area every year with
aspirations of stardom and riches. Surprisingly, most of these young
What do you do when you have none
of this? Read this section to find out!
people do not find themselves immediately on Broadway. Instead they find themselves making
tiny amounts of money to pay enormous bills. So, young New Yorkers need to be some of
the most creative people on the planet when it comes not just to their art, but to the fine art
of money management. So just how do you survive being young in New York? Read on and
you’ll garner a wealth of hard-earned wisdom.
How to stretch a buck when you’re a broke young artist in New York:
• Living Situation: Why be boring and have one roommate
when you can have seven! Sharing teeny, tiny apartment
spaces meant for a two-year-old child with seven other people
is what’s called economical in the Big Apple. Personal space
is so last week – instead view life with seven roomies as a
world of fun with exciting challenges to master, such as, can
you keep your toothbrush straight from everyone else’s? Can
you fall asleep with seven people doing shots five feet away?
Can you sense that one roommate is about to disappear with
everyone’s monthly rent? Can you convince the fire marshal
that one person’s bedroom is not “technically” a closet? Think
of the excitement!
Living Situation (Part 2):
• If you’re not adventurous enough to find seven roommates, or there are
not seven people on the planet that you like, instead, think Borough. That’s right – Borough. While
many outsiders (and some insiders) feel that Manhattan itself is the ONLY place to live, Queens,
Brooklyn, Staten Island and The Bronx aren’t horrible (well at least Queens and Brooklyn aren’t
horrible). Brooklyn and Queens are actually secretly ideal places to find huge, cheap (relative
term) apartments in beautiful, fun neighborhoods. Unfortunately, know that the rich hipsters will
eventually hear about whatever awesome borough neighborhood you’ve found, move in, jack up
the rents, and force you to find the next hot 'hood. Bottom line: while rents on Manhattan itself are
enough to make you pass out in the hallway outside the $3000 a month studio that’s 200 square
feet, the other boroughs aren’t quite as bad. Don’t get me wrong, they’re still astronomically
expensive compared to the rest of the country. But at least you won’t have to share your space
with seven other roommates. Hopefully, it’ll just be one or two.
Arizona Theatre Company Play Guide 16

[title of show]
YOUNG
• Furniture: Who needs it, right? The floor is perfectly comfy
when you inflate that mattress that Mom and Dad sent you.
But if you really are a big old crybaby, you can always keep
an eye out on the street to see what people are throwing away.
That old saying, “One man’s trash…” and all that. But if you’re
brave enough to use a mattress you found on the street (true
story – my friend really did that), make sure you own plenty
of stock in some chemical that will blast away whatever Trash = Treasure
germs are on that sucker (true story too – my friend really did that as well and I think
he might have permanently scarred his lungs from the amount of spray he used). Same
goes for couches, recliners, tables, lamps, exercise equipment and pretty much any
old thing – clean and display proudly in your fashionable NYC apartment. Note: While
giving this advice, in all fairness a word of caution is in order about an absolutely
terrifying epidemic thanks to sidewalk furniture. One word:
“bedbugs.” They are murder to get rid of, and you can
pick them up soooo easily (even by taking a free book off
the sidewalk, which is a great way to add to your library).
They're also this generation's new STD, more or less - once
you hook up with someone that has 'em, you've got 'em,
too. And, by hook up, I mean sleep with, shake hands with,
hold the jacket of, or even sit next to on the bus.
eeeeeeeekkkkkkkkkk!!!!!!!!!
• Income: The old quandary for all newbie transplant
artists – where can I find someone willing to pay me
to make art? There’s no one answer for such a deep
question. However, usually you can feel free to make
art in your three hours of free time while not temping,
waiter(ress)ing or selling blood. Whether or not you’ll
get paid for said art is a different story. So you’ll need
to keep that other resume brushed up (you know, the
You don’t want to end up here
one that doesn’t include your stint in your high school
production of Cats) while you’re waiting for your turn
to star in whatever the next upcoming Broadway musical is from Disney. So make
sure you have another skill to sell. Oh, and make sure whatever that “skill” is is
legal in the state of New York. It’s hard to be the star of a Broadway musical if
you’re starring in your own personal, non-televised version of Oz.
Your Art:
• As mentioned above, you might just have three hours a day after
working at a thankless job to work on your art. Make the best of it! Be like Hunter
and Jeff! One thing you can do as a starving artist is get your friends/associates
together, throw caution to the wind, and just put up your own work in the smallest,
cheapest, and occasionally weirdest venue you can get your hands on. Why wait
for the jobs to come to you? You don't have to let little things like running water,
rats, no heat, no roof, or no walls prevent you from living your dream of playing
Arizona Theatre Company Play Guide 17

[title of show]
YOUNG
"Othello." And, if your ragtag company thinks of a legit-enough name, you just might
dupe an agent or two into coming and seeing your (no doubt) brilliant work. A friend
of mine, in fact, most recently played Hamlet in a freezing cold warehouse that housed
a giant (working!) antique carousel that took up literally 95% of the space (that sorta
stuff goes on on Off-Off-Off-Way-Off Broadway all the time).
• Dating: You have no money. Therefore, your possibilities of successfully dating are
immeasurably affected. But fear not. While Sex & the City
may have made you think that everyone spends all their time
dressed in designer fashions, wobbling happily around bars in
6 inch stilettos and paying $20-$30 a drink at a local hot spot,
there are better (i.e. cheaper) date options. Use what’s at your
disposal. Think Central Park –
they can’t make you pay money
to come in there. And they even
Some people see trees, you do Shakespeare for free in there
should see free date
during the summers. Free theatre
tickets just for waiting in line
might just mean you get lucky.
And who says a picnic can’t just
be saltines and a thing of peanut
butter (or Nutella if you got a Maybe skip to research room at the NYPL
bonus this week)? Add fine wine for a less crowded/more romantic spot
available from $3-$5 a bottle and you’ve got yourself a date.
Another option - technically, I don’t think they can make you
pay to go into the Met. I’m just saying - “suggested donation”
Suggested donation =
doesn’t sound to me like something they can boot you out for
suggested great date location not giving them, at least if you can scrounge a penny for you
and one for your date. The list of free date activities is endless! Think stalking celebrities
after Broadway shows at the stage door – borrow a program, get your picture taken
with one and it looks like you saw the show! Think New York Public Library – who can
find the Kama Sutra the fastest – talk about foreplay! Think window shopping on Fifth
Avenue – keep track of the number of plastic surgeries you see go by! Okay, I’m not
gonna lie – it’s going to be an uphill battle on the dating front. But use your imagination
so hopefully someday you can use that mattress you de-germed just for this special
occasion.
• “Freegan” Living: A variation on the aforementioned finding
furniture outside, but more hardcore. Look it up. It’s just like it
sounds. Find everything you need to eat, to wear, and to use
on the streets of the city. But heads up, day-old bagels are one
thing, day-old sushi is a completely different story. Being young
and having no money in New York usually means no health
insurance, so you’ll just have to think of that parasite as a pet
until you make it big.
Need we say more? Yes, actually we
do need. FREE STUFF!!!
Arizona Theatre Company Play Guide 18

[title of show]
• Random Money Saving Tips: Other money saving tips I or my friends have used:
1.
2.
3.
4.
Eating people's leftover food when they leave their table at a restaurant.
Getting your haircuts and/or oral surgery done by students.
Moving in with a significant other as quickly as possible just to have one less
roommate (it's kinda like third base for young people in NYC). And, of course,
figuring out how to live with your ex-significant other when there's still nine
months left on the lease is a lot of fun, too.
Learning the art of staying on friends' couches for as many weeks as possible
(probably THE most implemented money saving tip any young New Yorker should
know). Snuggle down on that couch, and avoid looking at your potentially now
former-“friend” who is giving you the death-eye because it’s been six and half
months and he wants you out of there.
-written by Jenny Bazzell and Nat Cassidy
WRITER'S
WRITER'S BLOCK
I don’t know what else to write about this play…I got nothing. No, seriously. I’m starting to
panic now. What if the play guide doesn’t get done in time to go to print?!?! What’ll we do? I
have to write something…something… SOMETHING…. Well, that didn’t work.
Okay, I need to write. Right now. That’s right, I need to write. (Ha! I made a funny.)
I’ll start right now…write something, I will. Yes.
Hmmmm.....
Arizona Theatre Company Play Guide 19

[title of show]
Arrrrrrggggghhhhhhhhh!!!!!!!!! Writer’s block sucks.
WRITER'S
Wait, that’s it!!! That’s it!!! A section about Writer’s Block. That’s what big parts of [title
of show] are about. It’s the worst feeling in the world and pretty much everyone has
experienced it. And people have made lots of movies about it!!! I’ll just list all those out.
Perfect!!!
Actually, I’ll just wikipedia the sucker and list it from there.
Here goes:
Adaptation
Ask the Dust
Barton Fink
Californication
Deconstructing Harry
Finding Forrester
George Lucas in Love
I Capture the Castle
Even Shakespeare had writer’s block … at
Leaving Las Vegas
least according to Shakespeare in Love
October Road
The Lost Weekend
Misery
Muppet Babies (Season 6, Episode 09 "Romancing the Weirdo")
Read or Die
Secret Window
Sex and Lucia
Shabd
Shakespeare in Love
Stranger than Fiction
Swimming Pool
Sylvia
The Golden Notebook
The Shining
Throw Momma from the Train
Woman on the Beach
Wonder Boys
- I already told you this but in case you weren’t paying attention this list was adapted from www.wikipedia.com
Arizona Theatre Company Play Guide 20

[title of show]
MUSICALS/PLAYS
MUSICALS ABOUT MUSICALS
(AND PLAYS ABOUT PLAYS)
The tradition of self-referential theatre pieces is a long and
varied one. Playwrights and authors are sometimes so in
love with the theatre that it becomes the most fascinating subject for
their creative efforts. Theatre stories about the theatre are wonderful
insights into the backstage milieu and a rare chance for an audience
to see what the rehearsal process often looks like, leading up to an
Opening Night. Following is a decidedly incomplete list of musicals
about producing (and performing) musicals and plays about the
behind-the-scenes world of plays.
DID YOU KNOW..?
that [title of show] is not
the only musical ever
written about musicals?
42nd Street
Perhaps the ultimate musical about a musical, 42nd Street is based
on the 1933 film of the same name. It starred Ruby Keeler as Peggy,
a young girl who arrives in the Big Apple, determined to make it
on Broadway. Against all odds, she gets a job in the chorus of a big
musical, titled Pretty Lady. When the leading actress breaks her ankle
right before Opening Night, Peggy steps into the starring role and saves
the day.
The 1980 stage version, directed by Gower Champion, was a musical extravaganza, featuring forty
pairs of feet tap-dancing away as the curtain slowly rose for the first act. The original cast included
Jerry Orbach as Julian Marsh, the producer of Pretty Lady, Tammy Grimes as Dorothy Brock, the
imperious leading lady, and Wanda Richert as Peggy Sawyer, the young kid who steps out onto the
stage on Opening Night as a youngster, but comes back a star.
42nd Street won the Tony Award for Best Musical and became a long-running hit. Tragically,
Gower Champion died just hours before the opening night performance and his death was
announced during the curtain call that evening.
DID YOU KNOW..?
Dames at Sea
While 42nd Street was a loving re-make of the 1933 film, Dames at that [title of show]
Sea took the same story and parodied it Off-Broadway at the Caffe references over 90
Cino in 1966, starring a young Bernadette Peters as Ruby, the kid from different musicals?
Utah looking for her big break on the Great White Way. This version, far from the Busby
Berkeley-esque Broadway production which came later, spoofed the tradition of lavishly
staged musicals with only six cast members on a very small stage. The plot of Dames at Sea
diverged from the original story by having the "musical within the musical" being performed
on a Navy ship when the theatre in which it was to be staged is scheduled for demolition. In
this version, Ruby saves the day when the leading lady is too seasick to perform.
Dames at Sea played for 575 performances Off-Broadway and had a subsequent London
run of 127 performances.
Arizona Theatre Company Play Guide 21

[title of show]
MUSICALS/PLAYS
The Producers
The Producers took Broadway by storm when it opened in 2001.
Adapted by Mel Brooks from his 1968 film of the same name,
it tells the story of a down-on-his-luck Broadway producer who
hatches a get-rich-quick scheme with his accountant. The idea is
to raise $2 million dollars from theatrical investors (i.e., little old
ladies with money to spare), produce the worst Broadway show
ever staged on a budget of $100,000 and when the show tanks, take
the money and run. Unfortunately, their intentionally absurd and
offensive production, Springtime for Hitler, is taken by audiences to
be a brilliant parody and becomes a huge hit. Eventually, the two
scam artists are exposed and sent to jail where they continue their
collaboration, writing musicals from their jail cells and becoming the
Kings of Broadway.
The Producers opened on April 19, 2001, starring Nathan Lane and Matthew Broderick, and ran
for 2,502 performances, winning a record-breaking 12 Tony Awards.
A Chorus Line
A Chorus Line was based on an idea by Michael Bennett, a Broadway dancer and choreographer,
in which he invited several friends and fellow 'gypsies' to get together and talk informally about
their lives and their experiences as Broadway chorus dancers. These conversations were taperecorded
and eventually assembled into a show in which seventeen dancers audition for a
Broadway show, talking about their lives and careers in between choreography routines. The show
was a rare opportunity for chorus members to tell their own story while showcasing their skills and
talents as both singers and dancers.
The original Broadway production was a box office and critical hit, winning nine Tony Awards,
in addition to the 1976 Pulitzer Prize for Drama. It ran for 6,137 performances, becoming the
longest-running production in Broadway history up to that time. It remains the longest running
Broadway musical originally produced in the United States, and the fourth longest-running
Broadway show ever.
Kiss Me, Kate
Kiss Me, Kate, with music and lyrics by Cole Porter, is not only a 'musical within a musical,' but it
incorporates the work of William Shakespeare, as well. It centers on tryouts of a Broadway-bound
musical version of The Taming of the Shrew in which the actors playing the contentious roles
of Kate and Petruchio were once married, now divorced. The onstage battle of the sexes mirrors
their own offstage romantic struggles. As with Shakespeare's original, the subplots and romantic
complications weave throughout the main plot until all ends happily and the warring lovers are
Arizona Theatre Company Play Guide 22

[title of show]
once again united.
MUSICALS/PLAYS
Kiss Me, Kate was a comeback and a personal triumph for Cole Porter, who had suffered
a dimming of his star in the musical world, as well as a catastrophic injury suffered while
horseback riding. The show proved to be his biggest hit and the only one of his shows to
run for more than 1,000 performances on Broadway. It won the first Tony Award presented
for Best Musical in 1949.
The Musical of Musicals (The Musical)
About as self-referential as it gets, The Musical of Musicals
(The Musical) takes a basic plot - the classic melodrama
with an evil landlord demanding rent ("I can't pay the rent!,"
"You must pay the rent!") – and presents five renditions as if
written by icons of the musical theatre. The first act, Corn,
plays on the stereotypical Rodgers and Hammerstein devices of a simple Kansas girl being
threatened with marriage to the landlord if the rent is not paid, while the leading man
weighs the prospect of marrying her himself or hanging onto his freedom as an unmarried
carnival barker. The Second Act is a take-off on the Sondheim musicals, A Little Complex,
with the landlord as a psychotic artist threatening to murder his tenants for having thrown
his artwork in the trash. Act Three plays on the style of Jerry Herman musicals (Hello,
Dolly!, Mame) with Dear Abby, centered on Aunt Abby, an unconventional Manhattan
socialite who doles out advice to all around her. The Fourth Act, Junita plays on the style of
Andrew Lloyd Weber musicals with the title character determined to become a superstar,
despite her lack of talent, which will rid her of the burden of paying rent. Finally, the last
act is a parody of Kander and Ebb musicals like Cabaret and Chicago titled Speakeasy.
In it, one character advises another to turn to prostitution to earn her rent, as the creepy
landlord/emcee presides over the action of the story. The Musical of Musicals (The
Musical) ends with a big production number, "Done," a satire of A Chorus Line's "One."
Spamalot
Spamalot is an adaptation of the 1975 film Monty Python and
the Holy Grail. In it, the legend of Camelot is turned on its head
as King Arthur travels his kingdom (accompanied by his faithful
servant Patsy) looking for knights to fill his Round Table. Nearly
all of the gags from the original film are in the musical (The Trojan
Rabbit, The Knights Who Say "Ni," The Killer Bunny) while adding
in modern references to Las Vegas and gay marriage. When the
knights are tasked with finding The Holy Grail, they readily accept
the quest. Along the way, however, they learn that they will never
accomplish their goal until they produce a Broadway musical. They
are stumped by this task until King Arthur's guardian angel (sort of),
The Lady of the Lake, tells them that they have been in a Broadway
musical all along.
DID YOU KNOW..?
That one serving of original
Spam contains 180 calories?
I bet you didn’t.
The 2005 Broadway production won three Tony Awards, including Best Musical, and received
fourteen Tony Award nominations. During its initial run of over 1,500 performances it was seen
by more than two million people.
Arizona Theatre Company Play Guide 23

[title of show]
Plays about plays
MUSICALS/PLAYS
The Rehearsal
Authored anonymously in 1671, The Rehearsal is widely believed to have been written
by George Villiers, 2nd Duke of Buckingham. It is a biting criticism of the "heroic plays"
of John Dryden in which the main characters are impossibly noble, moral and, according
to Buckingham, irrelevant. The plot centers on a playwright attempting to stage a heroic
drama consisting in large part of excerpts of Dryden's actual plays, taken out of context
and made to sound absurd. Dryden got his revenge on Buckingham by writing him as a
character in his play Absalom and Achitophel, but it was not long after The Rehearsal's
success that the 'heroic play' fell out of favor with the public.
The Critic: or, a Tragedy Rehearsed
The Critic is a re-working of The Rehearsal, written in 1779 by Richard Brinsley Sheridan.
Instead of aiming his sights on the playwright, however, he turns his parody on the critics
(obviously) and their pretention and pomposity. It concerns misadventures that arise when
an author, Mr. Puff, invites Sir Fretful Plagiary and the theatre critics Dangle and Sneer to a
rehearsal of his play The Spanish Armada, Sheridan's parody of the then fashionable tragic
drama. The rehearsal is a disaster and the entire play (and the set) come apart at the seams.
Six Characters in Search of an Author
Six Characters in Search of an Author is the most famous and
celebrated play by the Italian writer Luigi Pirandello. It was first
performed in 1921 and represented a significant break from theatrical
tradition at the time. The action of the play starts out as if the
audience is seeing a rehearsal of Pirandello's Rules of the Game by
an unnamed theatre company. Shortly into the rehearsal, however,
the actors and director are interrupted by a family of six who have
entered the theatre "in search of an author." They tell the director
that they are characters invented by a writer who never finished their
story and they plead with the company to hear their tale and to write
it down so that they can live forever. The director and actors initially
take the characters to be simply insane, but as they tell their story,
the 'real life' theatre artists become engrossed in it and agree to give
it a try as a theatre piece. As the characters act out their story, and
as the theatre company attempts to recreate it with their own actors,
they discover that the story is a terrible tragedy involving prostitution,
Luigi Pirandello, breaker of
theatrical traditions with his
Six Characters in Search of
an Author
betrayal and the death of two small children. As the action builds to its tragic conclusion,
the lights in the theatre go out; when they are restored, the characters are nowhere to found.
The director ends rehearsal for the day, shaken by the unworldly events and frustrated at the
loss of a day's rehearsal.
The hyper-realism of Six Characters in Search of an Author caused an uproar at its premiere
at the Teatro Valle in Rome. Angry audience members shouted their disapproval at the
unconventional style of the play and caused the author to have to sneak out a side door of
the theatre as the crowd threatened a riot.
Arizona Theatre Company Play Guide 24

[title of show]
MUSICALS/PLAYS
The Dresser
The Dresser, by Ronald Harwood, is the story of the dresser to a fictitious Shakespearean
actor-manager who heads a company performing during the London Blitz of World War II.
The dresser, or theatrical assistant, attempts to keep the aging stage star going as his mind
and memory slip away.
The story is based on the experiences of Ronald Harwood when he was dresser to
distinguished English Shakespearean actor-manager Sir Donald Wolfit. The play was
nominated for Best Play at the 1980 Laurence Olivier Awards, and for Best Play and Best
Actor in a Play at the 1982 Tony Awards. It was subsequently made into a film starring Albert
Finney and Tom Courtenay.
A Life in the Theatre
This play by David Mamet is a somewhat dark two-person backstage story about a stage
veteran, Robert, and a young upstart, John. Told through a series of scenes – both backstage
and onstage – it follows the relationship of these two men at different points in their lives.
Though their association starts out as mentor and apprentice, it disintegrates and reverses on
itself as the younger actor gains self-knowledge and the older falters.
Noises Off!
Noises Off is a 1982 play by playwright Michael Frayn centered
on a British theatre troupe as they rehearse and perform a sex
farce titled Nothing On. The first act shows a disastrous final
dress rehearsal in which characters struggle to remember their
lines, miss entrances and cues and attempt to keep their props
in the proper place (most notably a plate of sardines). The
action of the first act takes place entirely on the set of the play
within the play. In the Second Act, the action is seen from the
backstage side of the set, one month later at a performance of
the farce in a provincial theatre. As the play within the play
takes place on the other side of the set, we see the relationships
between director, actors and crew disintegrate behind the
scenery. The Third Act of the play returns to the onstage side of
the set at the end of the run of the play. The actors are bored
and tired, their offstage lives have created enormous tension
onstage and a series of mishaps causes the play-within-theplay
to turn into a hilarious mess and theatrical disaster.
Arizona Theatre Company Play Guide 25

[title of show]
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Arizona Theatre Company Play Guide 26