From the Avant-Garde to the Popular: a History of Blue Man Group, 1987-2001

FROM THE AVANT-GARDE TO THE POPULAR: A HISTORY OF BLUE MAN GROUP, 1987-2001 Stephen Harrick A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2015 Committee: Jonathan Chamber, Advisor Andrew M. Schocket Graduate Faculty Representative Lesa Lockford Marcus Sherrell © 2015 Stephen Harrick All Rights Reserved iii ABSTRACT Jonathan Chambers, Advisor Throughout the United States toward the end of the twentieth century, popular theatre proliferated on the nation’s stages and in other entertainment venues: concert halls, comedy clubs, Broadway stages, and more. One of the notable offerings was (and still remains) Blue Man Group, a vaudevillesque performance troupe that plays music, performs scenes, and creates a sense of community amongst the attendees. Though now enjoying enormous mainstream success, Blue Man Group was once a fringe, avant-garde theatre, creating politically charged performances on the streets of New York City for free to those in close proximity. This study examines Blue Man Group’s history, from its beginnings through 2001, by looking at how it transitioned from its avant-garde roots into a popular theatre appearing on national television and in front of thousands of spectators each night. Following Mike Sell’s assertion that the thorny term “avant-garde” art is “premised on the notion that the modern world--its institutions, its social relations, its art, its cuisines, its economies--is terminally out of joint” (2011, 7), this study seeks to demonstrate that Blue Man Group’s first public performances, in the experimental theatre spaces and on the streets of New York City, emerged from a frustration with American culture. I argue that after opening a long-running production in New York, the organization took steps away from its avant-garde roots through questionable business practices and widespread expansion. In turn, I consider the group’s recording and releasing an album, which in effect turned its live event into an unchanging experience. I contend that by 2001, Blue Man Group had turned its back on its avant-garde outlook, as is evidenced by its opening of a production in Las Vegas and its appearing in nationally televised commercials iv for a computer company. In so doing, Blue Man Group eschewed its avant-garde roots while expanding its brand, thereby becoming part of American popular culture. Though I argue throughout that popularity is not a transgression to avoid, I assert that in the case of Blue Man Group, the search for it led the troupe to abandon the avant-garde ideals from which it originally developed. v For my parents, Edward John Harrick and Karen Sue Harrick, for their patience, support, guidance, and love vi ACKNOWLEDGMENTS As is theatre, the writing of a dissertation is essentially a collaborative act. While one person may be deciding the direction of the work, many more are involved in the task of helping it take shape. First and foremost, I must thank my advisor and teacher, Dr. Jonathan Chambers. Dr. Chambers has guided me throughout my graduate studies and inspired my thinking about theatre and, specifically, Blue Man Group. His advice, encouragement, and friendship have impacted my growth as a scholar, educator, and person. The members of my committee have similarly been integral in my development. Dr. Lesa Lockford, Dr. Andrew Schocket, and Associate Dean Marcus Sherrell have all taught me, as well as helped me reach a more concise understanding of theatre and performance history, criticism, and cultural studies, and have therefore been integral in sharpening my thinking about Blue Man Group. Other professors who have been influential to this project include Dr. Cynthia Baron at Bowling Green State University, Dr. Scott Magelssen at the University of Washington, and Dr. Ronald Shields at Sam Houston State University. Several of my colleagues have offered advice, suggestions and support, both during my course work at Bowling Green State University and throughout the research and writing process. Kari-Anne Innes and Cynthia Stroud formed a graduate student writing group, of which I was a member; their keen observations helped me in the revision process of key chapters. Vanessa Baker, Hephzibah Darshni Dutt, Season Ellison, Nicole Mancino, Lance Mekeel, Heidi Nees, Timothy Schaffer, and John Paul Staszel all provided thoughtful advice that has aided in the completion of this document. Likewise, the members of my PhD cohort, Rob Connick, Darin Kerr, and J. L. Murdoch, all listened and responded to my ideas at moments when they were still formulating. Friends from other colleges and universities have also been helpful: Virginia Anderson, Susan Kattwinkel, Jeff List, and Steve Luber have given their time, support, and vii advice. In particular, Susan Kattwinkel and Steve Luber, both of whom have written on Blue Man Group, provided insightful comments that were instructive to my thinking about the organization. I presented papers on Blue Man Group at academic conferences, and some of that work has found its way into chapters one and three. In those forums, many scholars made observations about my presentations, and for that I am grateful. Dorothy Chansky, Ann Folino White, Daniel Smith, and Christine Woodworth all discussed Blue Man Group with me as I ruminated on the ideas found throughout the dissertation. As the Performance Review Editor of Theatre Journal, Judith Sebesta helped strengthen my published review of the group’s work. Her keen eye made my writing more articulate and precise. Vanessa Baker and Nancy Malvin worked with me at various points in my research and writing process, each lending their editorial expertise to the study. My research would not be possible without the help of several people who provided me with resources and information: Max Frey and Elizabeth Kandel of Blue Man Productions granted permission to reproduce images; though she denied my request for an interview, director Marlene Swartz was nonetheless generous in her correspondence with me; the employees at the New York Public Library for the Performing Arts retrieved files and articles relevant to my research; and employees at the Supreme Court of the State of New York, County of New York provided assistance in locating relevant court documents. Finally, my family and many friends have given me support and inspiration through the writing process. My parents, Edward and Karen Harrick, my sisters Kimberly and Elizabeth, my brother-in-law Scott Hess, and my nephew Xander, all propped me up and provided much needed relief and distraction when I needed it. Dr. Alvin Goldfarb, my first scholar-mentor, has always supported me and I am eternally grateful to have had the opportunity to have worked with viii him. Melissa Bear, Leslie Damann, Meredith Hopping, Nathan Hopping, Christin Jameson, Garrett Long, Melanie Long, Kimberly Markley, Micki McKee Koelsch, Natalie Wolfe, Steve Wolfe, and Dominique Zavradinos, all sustained my spirit and filled me with joy. And Chad Brice, Chris Jones, Lori Peeples, Justin Perry and Ben Schrimpf were gentle and yet persistent when they asked, on numerous occasions, “What is it you’re writing about again? And when are you going to be finished?” My heartfelt thanks to them, as well as to any others I have failed to mention, for their contributions to the creation of this document. vi TABLE OF CONTENTS Page INTRODUCTION………………………………………………………………………..... 1 CHAPTER ONE. THE BIRTH OF THE BLUE MAN AND THE GROUP’S EARLY ENVIRONMENTAL PERFORMANCES… ..................…………… 18 CHAPTER TWO. CREATING COMMUNITY: BLUE MAN GROUP’S EARLY ............ INDOOR PERFORMANCES AND TUBES…………….. ................ 46 CHAPTER THREE. THE BLUE MAN BACK STAGE: BLUE MAN GROUP’S LEGAL AND CASTING CHALLENGES ………………………. 76 CHAPTER FOUR. THE BLUE MAN BRANCHES OUT: BLUE MAN GROUP IN BOSTON AND CHICAGO ........... ……………………………. 100 CHAPTER FIVE. MASS-PRODUCING THE AVANT-GARDE: BLUE MAN GROUP’S AUDIO………………………………………………… ... 119 CHAPTER SIX. AN ARID WASTELAND: BLUE MAN GROUP IN LAS VEGAS AND TELEVISION COMMERCIALS…………………………………138 CONCLUSION……………………………………………………………………………… 156 BIBLIOGRAPHY……………………………………………………………………… ...... 160 vii LIST OF ILLUSTRATIONS Illustration Page 1 Promotional image of Blue Man Group’s Tubes ....................................................... 71 2 Cover of Audio by Blue Man Group .......................................................................... 129 3 Air Pole Instruments .................................................................................................. 131 4 Backpack Tubulum Instruments ................................................................................ 135 5 Advertisements for Las Vegas Production ................................................................ 145 6 Photograph of Poker Chip .......................................................................................... 148 1 INTRODUCTION Created by nine collaborators, including principal co-founders Matt Goldman, Phil Stanton, and Chris Wink, Blue Man Group grew out of the thriving experimental New York theatre scene in the late 1980s. Since its founding nearly thirty years ago, the group has gone from performing on the street; to staging works in small art houses, large commercial theatres, and sports arenas; to appearing on television and the Internet. Now in its third decade of existence, Blue Man Group seems to show no end in sight. Indeed, during the second decade of the

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