Joey Landwehr

Home , Bring Down the House, Bug (play), Danny Kaye, Goodbye Tonight, Jane Olivor, Somewhere Along the Way

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Table of Contents

Con~~t ~taterrlent ()~

TRUE COLOR~ ()6

~IMPLY DANNY 28

Process ~5

Post Evaluation 55

Research 58

Bibliogra~hy 9()

Advertising 95

Production Proqram 99

Production Photographs 1()2

Reviews 1()~

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October 07, 1996

Concept Statement

TRUE COLORS (working title) is a biographical story of part of the life of a young man who is stricken with the disease AIDS. This young man, Danny Keel, has one last dream, to die in the theatre. The theatre is where he has always found his hopes and dreams, his friends and family, and most importantly the love of his life. This is partially a memory play and partially a present-time lounge act. For his final bow he must tell his story, instead of using other people's words.

The audience is made up partially of friends and family and partially strangers. Danny simply wants to bring some happiness into people's lives while giving them some thing to think about at the same time. This also allows him to bring some closure to his life by getting some things off his chest that have been haunting him for years. In many ways, just as Torn Wingfield, not to mention Tennessee Williams, does in THE GLASS MENAGERIE.

He speaks about the loss of his mother when he was young, the meeting and then loss of his lover as he got older. How his life seemed complete when he met his childhood matinee idol, how he was disowned by his other parent not because of his disease, but because of his sexual orientation, and finally how he contracted AIDS. But most importantly he wants the audience to realize that this isn't just his story. Stories just like this happen to so many others and can happen to each and every member of the audience.

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mUECOLOBS

(As the lights come up on a dark stage; we see the silhouette of a young man on stage. An accompanist plays the song (1) "True Colors" or "Friends" on the piano. He is a handsome young man, in his mid twenties with red hair and a slim build. He is singing very soulfully. When he hits the last lyrics "beautiful, like a rainbow." The lights come up with a cornucopia of colors to please the eye. The man should be dressed in a tux preferably but it must have rows and rows ofsequins. As ifBob Mackie and Liza Minnelli exploded on him.)

I SEE YOUR TRUE COLORS SHINING THROUGH. I SEE YOUR TRUE COLORS AND THArS WHY I LOVE YOU. (Voice over: "Ladies and Gentlemen Mr. Danny Keel." Possible canned applause.) SO DON'T BE AFRAID TO LET THEM SHOW. YOUR TRUE COLORS, TRUE COLORS, ARE BEAUTIFUL, LIKE A RAINBOW.

(Alternate beginning if choosing to use "Friends".) AND I, AM ALL ALONE. THERE IS NO ONE HERE, BESIDE ME. AND MY PROBLEMS HAVE ALL GONE. THERE IS NO ONE TO DERIVE ME. (Voice over: "Ladies and gentlemen Mr. Danny Keel." Possible canned applause.) BUT YOU GOT TO HAVE FRIENDS. THE FEELINGS OH SO STRONG. YOU GOT TO HAVE FRIENDS. TO MAKE THAT DAY LAST LONG. I GOT SOME FRIENDS BUT THEY'RE GONE. SOMETHIN' CAME AND TOOK THEM AWAY. AND FROM THE DUSK 'TILL THE DAWN, HERE IS WHERE I'LL STAY.

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STANDING AT THE END OF THE ROAD BOYS WAITING ON MY NEW FRIENDS TO COME. I DON'T CARE IF I'M HUNGRY OR POOR. I'M GONNA GET ME SOME OF THEM.

CAUSE YOU GOT YO HAVE FRIENDS. LA LA LA LA LA LA LA LA FRIENDS. LA LA LA LA LA (Repeat chorus a few times.)

Danny: The first major movie I ever saw, (Other than the Disney, .Bam.b.i., Dum.bo., Ci.ndereJ.la type of things.) was Kiss Me Kate. And not on video; because, at this time VCR's were not a permanent fixture in homes. They were the dinosaur, top-loaders that only one person in the entire trailer court owned. Kiss Me Kate was the first 3-D musical in glorious technicolor, and I saw it with my little card-board-esque glasses with the one red eye and the other blue, a tub of real, hot-buttered popcorn, and milkduds, on the big screen at The Fabulous Fox Theatre in St. Louis, it featured Katherine Grayson, Ann Miller, and even a special appearance by Bob Fosse. But the real star of the show was Howard Keel.

(Song cue (2). "1 Come To Wiveth Wealthily In Padua.") (Very Howard Keel-esque.) I'VE COME TO WIVETH WEALTHILY IN PADUA. IF WEALTHILY THEN HAPPILY IN PADUA. IF MY WIFE HAS A BAG OF GOLD, DO I CARE IF THE BAG IS OLD? I'VE COME TO WIVETH WEALTHILY IN PADUA.

Oh! What an amazing man. What an amazing voice. I wanted to sing as well as him. I wanted to act as well as him. I wanted to be able to wear tights as well as him. I wanted to be, Howard Keel. That man changed my life. He made me want to do something with myself. (pause) That is when I knew I wanted to bring happiness to others. That is when I knew it was my destiny to become, (pause) a lounge singer.

9 ~ JAL Page 03 Before I saw this turning point of a movie, I was going to be a preacher. Could you imagine? It was all planned out. Ozark Christian College is what awaited me; in Joplin, Missouri. I ask again, could you imagine? All of the sequins and the glitter and the huge production numbers with Donita, my overly hippy wife (And I don't mean long hair, earth tones and Berkinstocks.) and our three children, two boys and a girl: Courtney, Brandon, and Methuselah, standing beside me waving hands and shouting amen, and me singing negro-spirituals as white as white can be. (While my congregation eats the first course.) Dinner theatre spirituality: feeding the soul as well as the stomach.

(Song cue (3). "Swing Low, Sweet Chariot. " This song is done while interjecting such things as "Hey, how's that steak. " and "Hey, how you doin' tonight, yeah. ")

Of course I would bring down the house, during the apple cobbler, with my mother's favorite song. (Piano begins to play "Amazing Grace.'7 Accapella! (The piano stops as we here a large bang from the keyboard lid.)

(Song cue (4). ''Amazing Grace. ") (With scoops and slides and vocal fries galore. Very negro-spiritual.) AMAZING GRACE, HOW SWEET THE SOUND, THAT SAVED A WRETCH LIKE ME. I ONCE WAS LOST, BUT NOW AM FOUND, WAS BLIND, BUT NOW I SEE.

WHEN WE'VE BEEN THERE, TEN THOUSAND YEARS. BRIGHT SHINING AS THE SUN. WE'VE NO LESS DAYS, TO SING GOD'S PRAISE, THAN WHEN WE FIRST BEGUN.

Thank you. As I grew older I knew the ministry was not my forte; because of Mr. Keel and (pause) other things (pause) When I turned 19 I received my acting union card and was on my way to becoming Mr. Keel. The first show I did as a union actor was Ib.e. Wizard Of Oz.. I was (muffled under breath.) a flying monkey. (A long pause and then abruptly, out-loud.) all right! All right! a flying monkey. Okay? Happy? But really, what would the wicked witch be without us? Washed up, so

10 ~L P~e~ to speak. We add to her credibility. Please Margaret Hamilton not saying "Fly, my lovelies fly." it just wouldn't work. This is the major point in my career that I knew I would never be an evangelical preacher; because while I was getting into make-up for my big monkey scene with Phyllis Diller as The Wicked Witch, (it was summer stock.) I looked across the huge outdoor stage, looked through Sally Struthers singing "Over The Rainbow" (Which I assure you was not a simple task by this point in her career.) And I saw it. The most beautiful sight ever seen. A vision in emerald green, looking at me. Chad Hudson another chorus boy. It took everything inside us to keep from rushing the stageI throwing Sally into the pit and embracing in a crescendoing, overblown, homosexual fantasy of really falling in love "Over The Rainbow."

(Song cue {5}. HOver The Rainbow. '7 WHEN ALL THE WORLD IS A HOPELESS JUMBLE, AND THE RAINDROPS TUMBLE ALL AROUND, HEAVEN OPENS A MAGIC LANE. WHEN ALL THE CLOUDS DARKEN UP THE SKY-WAY, THERE'S A RAINBOW HIGH-WAY TO BE FOUND, LEADING FROM YOU WINDOW PANE. TO A PLACE BEHIND THE SUN, JUST A STEP BEYOND THE RAIN.

SOMEWHERE OVER THE RAINBOW WAY UP HIGH, THERE'S A LAND THAT I HEARD OF ONCE IN A LULLABY. SOMEWHERE OVER THE RAINBOW SKIES ARE BLUE, AND THE DREAMS THAT YOU DARE TO DREAM REALLY DO COME TRUE. SOMEDAY I'LL WISH UPON A STAR, AND WAKE UP WHERE THE CLOUDS ARE FAR BEHIND ME. WHERE TROUBLES MELT LIKE LEMON-DROPS, AWAY, ABOVE, THE CHIMNEY TOPS, THArS WHERE YOU'LL FIND ME.

11 JAL Page 05 SOMEWHERE OVER THE RAINBOW BLUE BIRDS FLY. BIRDS FLY OVER THE RAINBOW, WHY THEN, OH WHY CAN'T I? (Repeat chorus using 2nd ending.) IF HAPPY LITTLE BLUEBIRDS FLY BEYOND THE RAINBOW, WHY, OH WHY, CAN'T I?

You know I heard somewhere that that is how Danny Kaye and Laurence Olivier met. During the filming of a show. I believe it was a show Vivien Leigh was even in. They saw each other, they met back stage and the rest is gay icon history. Poor Vivien (pause) Oh well. "I have always depended on the kindness of strangers." Yeah well honey you better remind your hubby, "Never talk to strangers." Danny Kaye what a great guy! I always said I would be the Danny Kaye of the nineties. But alas I could never get the pellet with the poison in the vessel with the pestle or the chalice from the palace or even the flagon with the dragon. So I stuck with Howard Keel he always sang the slow, easy ballads.

Any way, back to me. Chad's moppy brown hair and bright blue eyes made me melt every time I saw them. He was a little guy, short in stature but long in (pause) sweetness. You people should be ashamed of yourselves. He made me feel attractive, handsome. He called me his beautiful blonde boy, or B-cubed for short. We made magic together. He and I saw each other every two weeks after our run of QZ was over. See Chad lived in Indiana, while I lived in Missouri. So, I would drive 4 (four) hours to Bloomington every other week. Ah! To be young and in love, instead of being old and bitter and jaded and lonely (In a faded southern dialect.) 'With a sister who is crippled and has no job. Go! Go! Go! to the movies." Sorry. I guess I didn't mention, I have a strong affinity towards Tennessee Williams and his faded southern bells. You know them, Amanda, Maggie, Mrs. Venable, Alma, and of course Blanche. I like to slip into them periodically, it makes me forget about my strife because I know that no matter how I try I can never be as messed up as a Tennessee William's grandame. I never needed to retreat into literature when I was young. There was a time for me, when love was real. When I could look into someone's eyes and not be scared. When it was okay

12 ~L P~eOO to feel new things. It was okay to want big things from a relationship. It was okay to fall in love

(Song cue {6}. "Indiana In The Rain. '7 THROUGH THE WIND, THROUGH THE RAIN, I AM ON MY WAY TO HIDE YOU FROM THE HURT, AND THE PAIN, WHEN I'M LYING THERE BESIDE YOU ONCE AGAIN... ALL THE LONELINESS WILL END. HOLD ON A LITTLE LONGER. I'LL BE ROUND, COLLEGE TOWN, AND THE STUDENTS ALL RETURNING BACK TO HOME... BUT NOT YOU...AND THE SMELL OF HICKORY BURNING IN THE FLUE... KEEP IT GOIN' AN HOUR OR TWO. 'CAUSE I'M ON MY WAY TO YOU. AND I'M DRIVING THROUGH INDIANA IN THE RAIN.

SUCH A QUAINT LITTLE TOWN, POPULATION TWENTY-THOUSAND; PICTURE PERFECT, FROM A POSTCARD, LIKE I SAID WHEN I PERFORMED HERE THAT ONE NIGHT. IT WAS LOVE AT MY FIRST SIGHT. JUST ONE THING WAS MISSING... I WAS TIRED OF ONE NIGHT STANDS IN EVERY MEANING OF THE WORD. THEN I CAME HERE. I FOUND YOU; AND THE PJECES FJT SO NOW I'M SETTLING DOWN. ME MISTER "PAINT THE TOWN!" GOD, I MISS YOU WHEN YOU'RE NOT AROUND. GET ME THERE BEFORE I DROWN IN INDIANA IN THE RAIN.

SO NOW, WE BUILD OUR LIFE TOGETHER! YOU AND ME, OUR APARTMENT, AND YOUR BIG DOG NAMED FRED! ALTHOUGH Irs REALLY SHllTY WEATHER, MY TAROT CARDS SAY: "BLUE SKIES AHEAD!"

13 JAL Page 07 NOW I RUN UP THE STAIRS, THROUGH THE DOOR, INTO YOUR ARMS. BOY, YOU LOOK GREAT! YOU SMELL GREAT! WHAT IS THAT COLOGNE? "ETERNITY" I KNOW; AND THAT'S SURELY "APROPOSIt FOR ETERNITY'S WHAT WE'LL SPEND WITH EACH OTHER, A BOY, A DOG, AND HIS LOVER; AND A JEEP THAT'S ALL TERRAIN. FOR GETTIN' THROUGH TO YOU, IN INDIANA IN THE RAIN.

Today when you tell someone you love them, they want to know what you want, what's your angle. Love scares people. I don't know if this happens when everyone gets older or if I was just born in the wrong time period.

The next year of my life was filled with (In a faded southern dialect.) "Deception! Deception! Deception!" and "Mendacity! Mendacity! Mendacity!" Have you ever noticed, Williams writes in 3s (threes)? A lot?!?!

Chad moved to New York so I became a real, well, for lack of a better word, a slut. My father disowned me because he found out about my (pause) extracurricular activities. And my sister went into the hospital because of her bulimia. I had no idea about my sister. The other traumas were rather predictable. I used to just think, 'Wow my sister could be a super model. She is so beautiful." I remember one day going to hug my sister, and as I was hugging her I lifted her off the floor. I lifted her off the floor and I didn't even know it She was so light I couldn't even realize she was in my arms. I never left her side in the hospital, but to go to class. I ate, slept, and studied there. I put my career on hold, until she got better. Now she is this chunky little thing that couldn't be happier doing her silk flower arrangements, cake decorating and coupon clipping. My sister is the only person I know that has an entire room of her house devoted to coupons. All her kids ever wear are Kool-Aide and Velveeta t-shirts.

14 JAL Page 08 I have a question for you. Do you remember the first time you kissed someone, and it meant something. Now I don't mean like in high school when you think you fell in love. No, I mean when you felt something, something that you never felt before. It is like you are truly happy for the first time ever. You feel it from your toes. It opens up your eyes so wide you can never completely close them again. Now this doesn't mean that you will be with this person forever, God knows. It is just that moment, no more, no less.

(Song cue {7}. "Meadowlark.") WHEN I WAS A BOY I HAD A FAVORITE STORY. OF THE MEADOWLARK WHO LIVED WHERE THE RIVERS WIND. HER VOICE COULD MATCH THE ANGELS' IN Irs GLORY, BUT SHE WAS BLIND. THE LARK WAS BLIND. AN OLD KING CAME AND TOOK HER TO HIS PALACE WHERE TO WALLS WERE BURNISHED BRONZE AND GOLDEN BRAID. AND HE FED HER FRUIT AND NUTS FROM AN IVORY CHALICE

AND HE PRAYED; "SING FOR ME, MY MEADOWLARK. SING FOR ME ON THE SILVER MORNING. SET ME FREE, MY MEADOWLARK. AND I'LL BUY YOU A PRICELESS JEWEL, AND CLOTH OF BROCADE AND CREWEL, AND I'LL LOVE YOU FOR LIFE IF YOU WILL SING FOR ME."

THEN ONE DAY AS THE LARK SANG BY THE WATER, THE GOD OF THE SUN HEARD HER IN HIS FLIGHT; AND HER SINGING MOVED HIM SO HE CAME A BROUGHT THE GIFT OF SIGHT. HE GAVE HER SIGHT. AND SHE OPENED HER EYES TO THE SHIMMER AND THE SPLENDOR OF THIS BEAUTIFUL YOUNG GOD SO PROUD ANDSTRONG. AND HE CALLED TO THE LARK IN A VOICE BOTH ROUGH AND TENDER;

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"COME ALONG, FLY WITH ME MY MEADOWLARK, FLY WITH ME ON THE SILVER MORNING. PAST THE SEA WHERE THE DOLPHINS BARK. WE WILL DANCE ON THE CORAL BEACHES, MAKE A FEAST OF THE PLUMS AND PEACHES, JUST AS FAR AS YOUR VISION REACHES, FLY WITH ME.

BUT THE MEADOWLARK SAID "NO", FOR THE OLD KING LOVED HER SO. SHE COULDN'T BEAR TO WOUND HIS PRIDE. SO THE SUN GOD FLEW AWAY, AND WHEN THE KING CAME DOWN THAT DAY, HE FOUND HIS MEADOWLARK HAD DIED.

EVERY TIME I HEARD THAT PART I CRIED.

AND NOW I STAND HERE STARRY EYED AND STORMY OH, JUST WHEN I THOUGHT MY HEART WAS FINALLY NUMB, A BEAUTIFUL YOUNG MAN APPEARS BEFORE ME, SAYING COME. OH WONT YOU COME. AND WHAT CAN I DO IF FINALLY FOR THE FIRST TIME THE ONE I'M YEARNING FOR RETURNS THE GLOW? IF LOVE HAS COME AT LAST Irs PICKED THE WORST TIME, STILL I KNOW, I'VE GOT TO GO!

FLY AWAY MEADOWLARK. FLY AWAY ON THE SILVER MORNING. IF I STAY, I'LL GROW TO CURSE THE DARK. SO Irs OFF WHERE THE DAYS WONT BIND ME, I KNOW I LEAVE WOUNDS BEHIND ME, BUT I WONT LET TOMORROW FIND ME BACK THIS WAY. BEFORE MY PAST ONCE AGAIN CAN BLIND ME, FLYAWAY.

16 JAL Page 10 AND WE WONT WAIT TO SAY GOODBYE. MY BEAUTIFUL, YOUNG, MAN, AND I.

I couldn't believe I found him. He wanted everything I wanted; the white picket fence, 2.3 kids, and a big hair sheep dog. He even wanted to marry me. I don't mean date indefinitely. I mean marry. The church, the flowers, the gown, everything. When we were together there was no one else. We were this bonded mess of flesh and bone and blood. We argued constantly but it didn't matter.

(Possible piano over-lay)

He told me from the start that he was sick. Most of me was scared, but there was a part of me that was intrigued. I kept saying that this will prove whether I can handle this dilemma or not. I always said I could handle it as long as I was careful. It is love that matters not health. We'll be fine. We weren't. I kept blaming him for things that weren't his fault. Finally when it came right down to it - the commitment. I couldn't handle it. He was 10 years my senior. I had so much life ahead of me, I thought. I couldn't risk it. I couldn't risk not knowing my status, checking in every six months and still not really knowing; living from blood test to blood test. So I left. Not a word of explanation, I just disappeared, cleared out my stuff and left the key in the mailbox. For months I didn't call, didn't write, nothing. A year later there was a "development" which made me realize that I had cut off my only love. The only person I loved that loved me back. I ran back trying to find him. He was gone. He died one month earlier. My only excuse is that I was young. You can never know how much I loved him. Love him.

(Song cue {B}. "Our Private World. ") OUR PRIVATE WORLD IS LIKE A PLAY ABOUT A PAIR OF LOVERS. THE PLOT SAYS ONLY WE MAY ENTER, AND ONLY WE MAY SHARE THE LIGHT OF LOVE STAGE CENTER. OUR PRIVATE WORLD IS SWEET LIKE THIS, COMPLETE LIKE THIS.

17 JAL Page 11 FAR BEYOND THE THRONG SURE AND STRONG, WE BELONG TOGETHER,

YOU OPPOSITE ME, OPPOSITE YOU, SAFE ON OUR PLANET MADE ONLY FOR TWO. NIGHT AFTER NIGHT, DAY AFTER DAY, LIVING OUR PRIVATE TWO CHARACTER PLAY, HERE IN OUR PRIVATE WORLD. (Repeat.) (At the end of the song there is a look to heaven and a silent "Thank you" there should be a spot on Danny and it should iris down after his last moment.)

Now let's see, Oh yes, My career eventually took off again with a flying start. No monkey jokes please. I was cast in South Pacific, as a sailor. I know it isn't much of a role, but at least it is human. A rather butch role I thought. 'Wow they must think I am really a great actor. They must think I can portray a straight man." I said to myself. (pause) I was not hired back next season. But it didn't matter because that was the year that my dream was fulfilled. Guess who was starring in Soutb.~?! Howard Keel!

When I was on the east rehearsal platform for ~ as we so lovingly called it. I heard rumor that Howard was on the west platform. I disappeared running full out across the stage just to sit in the grass and watch him warm up.

(Song cue {9}. "Meeting Howard. ") MA SAID, "TURN OFF THE T.V. SET!" I SAID, "MA IT'S NOT OVER YET." SHE SAID, "HONEY, ITS WAY PAST TWO." "BUT TOMORROW I DON'T HAVE SCHOOL!" "AREN'T YOU SICK OF THE LATE NIGHT SHOW?" "NO! AND THERE'S JUST A BIT TO GO." ".I".... e« ...._~ ~ ...." , ...... ""~nTHER IN GLORIOUS TECHNICOLOR, AND IF I HAD MY DRUTHERS, I WOULD BE LIKE THE...

18 JAL Page 12 HERO OF M.G.M. HE'S THE BEST OF THE LEADING MEN. HE WAS DASHING IN KISS..ME.KAIE., AND IN SJ::t.QWBQAI HE WAS JUST GREAT! IN THE FIFTIES HE HIT HIS STRIDE. SElat..BIIDlO::lf;R5~~~~...BBI.... r-,... I COULD WATCH THEM TWENTY-FOUR HOURS A DAY. MY LIFE WOULD BE A MATINEE. MY TROUBLES WOULD GO FAR AWAY, YOU SEE, IF I COULD...

BE LIKE HOWARD. STRONG AND HANDSOME AND DEBONAIR. LOTS AND LOTS OF SAVOIR FAIRE TO SPARE, AND OH... IF I COULD GROW UP TO BE LIKE HOWARD, I'D BE POPULAR AT MY SCHOOL. NO MORE OBJECT OF RIDICULE. THE GIRLS WOULD ALL ADORE ME, GUYS WOULD ALL BEG FOR ME TO BE ON THEIR TEAMS. IN MY DREAMS.

WELL GROW UP IS JUST WHAT I DID. GONE FOREVER THAT GANGLY KID. I TOOK DANCE CLASSES TWICE A WEEK. WHICH DID WONDERS FOR MY PHYSIQUE. I TRIED OUT FOR MY HIGH SCHOOL SHOWS. THEN THIS SUMMER I JUST TURNED PRO. TURNED NINETEEN AND GOT MY EQUITY CARD, FOR SUMMER STOCK IN FORREST PARK, AND GUESS WHO'S CAST TO PLAY THE STAR JUST GUESS. OH YES!

19 JAL Page 13 I HOPE I DON'T KEEL OVER I WILL BE IN CLOVER WHEN WE MEET AND THEN ... I'LL HAND HIM MY PEN. AND ASK HIM FOR HIS AUTOGRAPH... OH GOD! I HOPE HE DOESN'T LAUGH. SHOULD BOYS HAVE MATINEE IDOLS? IS THAT QUEER? I MEAN ODD? BUT HOWARD, YOU WERE A BROTHER AND A DAD. THE NORMAN ROCKWELL PAINTING I NEVER HAD. WHAT? HE'S HERE? OH MY GOD, MY KNEES! MR. KEEL... "CALL ME HOWARD PLEASE!" JEEZ LOUISE!

NOW I'M FRIENDS WITH HOWARD. "FIRST NAME BASIS KID, YOU AND ME." "HEY YOU DANCE PRETTY WELL FOR TWENTY-THREE" "BUT I'M NINETEEN." "OH I'M SORRY, JOEY (DANNY) I DON'T HAVE A SON BUT IF I DID, I'D LIKE HIM TO BE JUST LIKE YOU KID." OH NOW I CAN DIE HAPPY, MISTER KEEL, I MEAN PAPPY, CALLED ME SON. SON OFAGUN!

He told me the best joke. Do you want to hear it? Okay! Do you want to know the mating call of the clam? (The actor makes a clam shell with his arms in front ofhis face, opens them and mouths "Fuck me." and slowly closes them.) After my encounter with Mr. Keel I was the happiest man in the world. He told me that I remind him of himself at a younger age. He gave me hope, hope for the future. My future, however, did not play out exactly as planned.

(Light change)

20 JAL Page 14 This is when it always seems to happen. I am on the top of the world then something seems to spit me to Antarctica. I found myself in the hospital. But that's another story.

Because of hospitals I never really got to be a kid. I was the oldest fifteen year old anyone ever knew. I had to be. I had to take care of everyone. Especially my older siblings because my mother wasn't there to do it. Not because she was some awful mother that left her kids flat, or beat her children. Those are the lucky ones because they didn't get to know their mother, and then have her taken away.

My mother and I had a very special relationship. We would watch li.ttI.e..J:Iouse On The Prairie together. Michael Landon, wow, now there is a hunk of man. There were four episodes of ~ that Michael took off his shirt. I had all of the beginnings of these episodes memorized. (In a southern dialect.) "My Mr. Landon, you give me palpitations, Why don't you come sit down over here with me, neither of us are to terribly large in diameter." Alma!-Summer And Smoke? I'll stop. Mom and I both had secret crushes on him. We would sit and watch him in awe. Mom would have one of those big, thick. peppermint candy cane sticks in a bowl. She would hit it with a hammer and give me chunks off it. I used to think it made the candy better. Because I never liked full candy canes. It was like magic. I would lay on the floor next to the recliner. She would nudge her feet under me to keep them warm while we watched the big, floor console T.V.. Mom would sing songs to me during the commercial breaks.

(Song que {10}. The actor will sing small excerpts from the songs "Boom Boom, Didom Dodom, Wadda Ma Choo." and HI Love You, A Bushel And A Peck.")

The best song she sang to me, my favorite, was at night while I was falling asleep.

21 JAL Page 15 (Song cue (t t}. HSleepy Man. j BEEN A BUSY DAY, WITH SOME HEAVY SCENES, BUT YOU'VE DONE YOUR BEST, SLEEPY MAN. LET YOUR TROUBLES LAY, LET YOUR BREATHIN' EASE, WHILE I RUB YOUR CHEST, SLEEPY MAN.

YOU'RE ALL DONE WITH THE RUN OF THE RACE, FOR TODAY. YOU'VE GOT PLENTY OF RUNNIN' TO FACE COME TOMORROW. I'M RIGHT HERE. ALWAYS NEAR. ALWAYS LOVIN' MY DEAR, SLEEPY MAN.

NOT A GIRL I KNOW, HAS A BETTER DEAL, THAN MY LIFE WITH YOU, SLEEPY MAN. IF I LET IT SHOW, HOW YOU MAKE ME FEEL, WEILL BE UP 'TILL TWO, SLEEPY MAN.

YOU'RE ALL DONE WITH THE RUN OF THE RACE, FOR TODAY. YOU'VE GOT PLENTY OF RUNNIN' TO FACE COME TOMORROW. I'M RIGHT HERE. ALWAYS NEAR. ALWAYS LOVIN' MY DEAR, SLEEPY MAN. I'M RIGHT HERE. ALWAYS NEAR. AND I LOVE YOU MY DEAR, SLEEPY MAN.

22 JAL Page 16 last thing she said to me was a line from our favorite .I.ittI.e.J::I. episode. I know that sounds odd but it was a line a mother said who was dying and would never see her children again. I insisted that it be printed on her stone. She said, "If you can't remember me with joy and laughter, don't remember me at all."

(Song cue (12). "Since You Stayed Here. ") YOU'D NEVER RECOGNIZE THE ROOM. THE PICTURES ALL HAVE DIFFERENT FRAMES NOW. AND ALL THE CHAIRS ARE REARRANGED NOW, SOMEHOW. I'VE THROWN OUT EVERY SOUVENIR. YES. THERE'VE BEEN CHANGES MADE SINCE YOU STAYED HERE.

YOU'D NEVER RECOGNIZE THE STREET. THE NEIGHBORS KIDS PLAY DIFFERENT GAMES NOW. THE COLORS IN THE TREES HAVE CHANGED NOW. STRANGE HOW, I'VE HARDLY THOUGHT OF YOU THIS YEAR. YES. THERE'VE BEEN CHANGES MADE SINCE YOU STAYED HERE.

THE SAME ADDRESS, WELL MORE OR LESS. MORE HAPPENS, LESS MATTERS, I GUESS.

YOU'D NEVER RECOGNIZE MY LIFE. I PLAY A MUCH MORE CAREFUL GAME NOW. AND WHEN I CRY Irs NOT THE SAME NOW, SOMEHOW. I NEVER WASTE A SINGLE TEAR. YES. THERE'VE BEEN CHANGES MADE SINCE YOU STAYED HERE.

YOU'D NEVER RECOGNIZE THE ROOM.

If you can't remember me with joy and laughter, don't remember me at all. I kept that saying close to my heart. I said that those would be the last words anyone would hear me utter. Because it is the most selfless thing I have ever heard anyone say. No one should ever wish

23 JAL Page 17 anyone sorrow. Except many hospital nurses. I remember when mom was in the hospital. She needed help to use the bathroom. It took a nurse 15 minutes to get to her. The only reason she did was because this pudgy little fifteen year old kid went down the hallway and grabbed this woman by the name tag, dragging her into my mothers room shouting obscenities at the top of my lungs. I said, (While putting on rubber gloves.) "Listen here you great, fat, white, witch. My mother needs attention. She has had to pis for 15 minutes. So you put down that Christmas cookie and help my mother urinate or you will know a new meaning to the words ribbed for her pleasure." Wow I feel like Julia Sugerbaker.

I know one thing. I will never die in a hospital. I will die gracefully, in the theatre. Maybe in the middle of a show like Irene Ryan did during Pippin. Oh, no I couldn't, then I would be replaced with Martha Raye. And I don't plan on having dentures. My friends have tried to get me in the hospital before. They mean well but I would just say, "No! Bring me to the theatre, and I will become all better." I always did. I will know when I am ready. I will have planned for it. I can't explain it. I just know. This place is a refuge somehow I can always run here when I need to get away. This is the first place I ran when I lost my other parent. Joseph Anthony Landwehr, my (pause) ex-father. Joseph, my dad has decided that no thing like me could ever be from his genes. I can still hear him now. Spitting as he talks in that lovely articulate way of his. "You are going to hell. You know that don't you? What have you done to us? What will we say to people? This is an addiction just like drugs. I sure as hell didn't make you this way. You can't blame this on your mother and me! You can stop it. If you are gay then you must have AIDs. How do we know that we are not infected. We probably have it to don't we? You are on your own. You are not a part of this family. You are not my son. My son is normal. When you choose to be normal then I will love you."

I should tell you now that Danny Keel is a stage name. I was named Joseph Aric with an "A". My parents thought it would be cute to have my initials the same as my father's, but not to make me a junior. To this day I am convinced they just didn't know how to spell Eric correctly. The name Danny Keel is a tribute to the two greatest entertainers in the world. Well? (pause, psuedo waiting for answer.)

24 JAL Page 18 Howard Keel and Danny Kaye of course. The red hair? It is far from a coincidence! Thank you Miss Clairo!.

No one in my family is a redhead. I suppose that is part of the reason that I am. I have realized that family does not mean blood or similar traits. Family is who you love and who loves you. Unconditional love. I ran to the theatre and met my family. They are the biggest family ever. (This section should be played speaking to the audience, the family.) Brothers, sisters, uncles, aunts, mothers, fathers. These people will always be in my soul.

(Song cue {13}. "the Rooftop Song.'7 WE LOST OUR SPECIAL FEELING SOMEWHERE ALONG THE WAY. WHO KNOWS HOW. WHO KNOWS WHEN. LAST YEAR, LAST WEEK, OR YESTERDAY. THE POINT IS THAT WE LOST IT, AND WE THOUGHT THAT IT WAS GONE. AND THEN LAST EVENING JUST BEFORE DAWN.

WE GOT IT BACK ON THE ROOFTOP, THAT SPECIAL FEELING THAT ONCE WAS OURS. JUST YOU AND ME AND A SEA OF EVENING STARS. WE GOT IT BACK ON THE ROOFTOP, LET'S NOT LOOSE IT AGAIN. ON A ROOFTOP Irs NICE TO GET BACK A FRIEND.

AND NOW MY FRIEND YOUR LEAVING, BUT I KNOW THAT YOU'LL RETURN. WE'LL BE ALL RIGHT, THINK OF THAT NIGHT, AND HOW BRIGHT A LIGHT CAN BURN. SO IF YOU'RE EVER LONELY, OR MAYBE FEELING SAD, REMEMBER ONE THING AND IT WONT SEEM SO BAD.

REMEMBER UP ON A ROOFTOP. NOTHING'S IMPOSSIBLE THAT WE'VE FOUND. OUR FEARS AND FOES, WORRIES AND WOES CAN BE TURNED AROUND.

25 JAL Pge 19 WHEN YOUR ALONE ON A ROOFTOP AND THE WORLD LOOKS SO BLACK. JUST BE STILL AND IT WILL ALL COME BACK.

WHEN YOU'RE ON THE GROUND, RUNNING AROUND, YOU'RE BOUND BY EARTHLY TIES; BUT ON THE HIGHEST FLOOR, HEAVENS DOOR, YOU SEE THINGS THROUGH WISER EYES. ON A ROOFTOP! I CAN'T THINK OF ANY PLACE I'D RATHER BE. THAN A ROOFTOP HERE'S THE PICTURE I SEE. IN MY MINDS EYE, Irs SO NICE US THREE. A ROOFTOP, MY OLD FRIENDS, AND ME....

(Alternate Song que (13). "You've Got To Have Friends. If) YOU'VE GOTTO HAVE FRIENDS LA LA LA LA LA LA LA LA FRIENDS

If you can't remember me with joy and laughter, don't remember me at all.

(As "True Colors" or "You've Got To Have Friends" plays there should be an immediate blackout so that the audience cannot adjust there eyes. the blackout should be long enough to be a little awkward. Then lights up and after a slight pause an open gracious bow.)

26 JAL Page 20 "True Colors." by Billy Steinberg and Tom Kelly

"Friends." by Mark Klingman and Buzzy Linhart

"I Come To Wiveth Wealthily In Padua." by Cole Porter

','Over The Rainbow." by Harold Arlen and E.Y. Harburg

"Indiana In The Rain." by Christopher Jackson

"Meadowlark." by Stephen Schwartz

"Our Private World." by Cy Coleman, Betty Comden and Adolph Green

"Meeting Howard." by Christopher Jackson

"Sleepy Man." by Robert Waldman and Alfred Uhry

"Since You Stayed Here." by Rubins and Larson

''The Rooftop Song." by Christopher Jackson

27 ------_.._-_..----~

8<:

(ionpord palls~u~J alll)

ANNVa Aldll'JlS ANNva AldV\lIS JAL PAGE01

SIMPLY DANNY

(As the lights come up on a dark stage; we see the silhouette of a young man on stage. An accompanist plays the song (1) "Friends" on the piano. He is a handsome young man, in his mid twenties with red hair and a slim build. He is singing very soulfully. When he hits the last lyrics "beautiful, like a rainbow." The lights come up with a cornucopia of colors to please the eye. The man should be dressed in a tux preferably but it must have rows and rows of sequins. As if Bob Mackie and Liza Minnelli exploded on him.)

(Song que {1} "Friends".)

AND I, AM ALL ALONE. THERE IS NO ONE HERE, BESIDE ME. AND MY PROBLEMS HAVE ALL GONE. THERE IS NO ONE TO DERIVE ME. (Voice over: "Ladies and gentlemen Mr. Danny Keel." Possible canned applause.) BUT YOU GOTTO HAVE FRIENDS. THE FEELINGS OH SO STRONG. YOU GOT TO HAVE FRIENDS. TO MAKE THAT DAY LAST LONG. I GOT SOME FRIENDS BUT THEY'RE GONE. SOMETHIN' CAME AND TOOK THEM AWAY. AND FROM THE DUSK 'TILL THE DAWN, HERE IS WHERE I'LL STAY.

STANDING AT THE END OF THE ROAD BOYS WAITING ON MY NEW FRIENDS TO COME. I DON'T CARE IF I'M HUNGRY OR POOR. I'M GONNA GET ME SOME OF THEM.

-- JAL Page 02 CAUSE YOU GOT YO HAVE FRIENDS. LA LA LA LA LA LA LA LA FRIENDS. LA LA LA LA LA (Repeat chorus a few times.)

Danny: The first movie I ever saw was KISS ME KATE and not on video; because, at this time VCR's were not a permanent fixture in homes. They were the dinosaur, top-loaders that only one person in the entire trailer court owned. Kiss Me Kate was the first 3-D musical in glorious technicolor, and I saw it with my little card-board-esque glasses with the one red eye and the other blue, a tub of real, hot-buttered popcorn, and milkduds, on the big screen at The Fabulous Fox Theatre, it featured Katherine Grayson, Ann Miller, and even a special appearance by Bob Fosse. But the real star of the show was Howard Keel.

(Song cue (2). "I Come To Wiveth Wealthily In Padua.") (Vel}' Howard Keel-esque.) I'VE COME TO WIVETH WEALTHILY IN PADUA. IF WEALTHILY THEN HAPPILY IN PADUA. IF MY WIFE HAS A BAG OF GOLD, DO I CARE IF THE BAG IS OLD? I'VE COME TO WIVETH WEALTHILY IN PADUA.

When I turned 19 I received my acting union card and was on my way to becoming Mr. Keel. The first show I did as a union actor was Jha Wizard. Of Oz.. I was (muffled under breath.) a flying monkey. (A long pause and then abruptly, out-loud.) all right! All right! a flying monkey. Okay? Happy? But really, what would the wicked witch be without us? Washed up, so to speak. We add to her credibility. Please Margaret

31 JAL Page 03

Hamilton not saying "Fly, my lovelies fly." it just wouldn't work. This is the major point in my career that I knew I would never be an evangelical preacher my mother always hoped I would be; because while I was getting into make-up for my big monkey scene with Phyllis Diller as The Wicked Witch, (it was summer stock.) I looked across the huge outdoor stage, looked through Sally Struthers singing "Over The Rainbow" (Which I assure you was not a simple task by this point in her career.) And I saw it. The most beautiful sight ever seen. A vision in emerald green, looking at me. Chad Hudson another chorus boy. It took everything inside us to keep from rushing the stage, throwing Sally into the pit and embracing in a crescendoing, overblown, homosexual fantasy of really falling in love "Over The Rainbow."

(Song cue (3). trOver The Rainbow. '7 WHEN ALL THE WORLD IS A HOPELESS JUMBLE, AND THE RAINDROPS TUMBLE ALL AROUND, HEAVEN OPENS A MAGIC LANE. WHEN ALL THE CLOUDS DARKEN UP THE SKY-WAY, THERE'S A RAINBOW HIGH-WAY TO BE FOUND, LEADING FROM YOU WINDOW PANE. TO A PLACE BEHIND THE SUN, JUST A STEP BEYOND THE RAIN.

SOMEWHERE OVER THE RAINBOW WAY UP HIGH, THERE'S A LAND THAT I HEARD OF ONCE IN A LULLABY. SOMEWHERE OVER THE RAINBOW SKIES ARE BLUE, AND THE DREAMS THAT YOU DARE TO DREAM REALLY DO COME TRUE.

SOMEDAY I'LL WISH UPON A STAR, AND WAKE UP WHERE THE CLOUDS ARE FAR BEHIND ME. WHERE TROUBLES MELT LIKE LEMON-DROPS, AWAY, ABOVE, THE CHIMNEY TOPS, THATS WHERE YOU'LL FIND ME.

32 JAL Page 04

SOMEWHERE OVER THE RAINBOW BLUE BIRDS FLY. BIRDS FLY OVER THE RAINBOW, WHY THEN, OH WHY CAN'T I? (Repeat chorus using 2nd ending.) IF HAPPY urns BLUEBIRDS FLY BEYOND THE RAINBOW, WHY, OH WHY, CAN'T I?

You know I heard somewhere that that is how Danny Kaye and Laurence Olivier met. During the filming of a show. I believe it was a show Vivien Leigh was even in. They saw each other, they met back stage and the rest is gay icon history. Poor Vivien (pause) Oh well. "I have always depended on the kindness of strangers." Yeah well honey you better remind your hubby, "Never talk to strangers." I always said I would be the Danny Kaye of the nineties. But alas I could never get the pellet with the poison in the vessel with the pestle or the chalice from the palace or even the flagon with the dragon. So I stuck with Howard Keel he always sang the slow, easy ballads.

33 JAL Page 05 to feel new things. It was okay to want big things from a relationship. It was okay to fall in love

(Song cue (4). "Indiana In The Rain. ") THROUGH THE WIND, THROUGH THE RAIN, I AM ON MY WAY TO HIDE YOU FROM THE HURT, AND THE PAIN, WHEN I'M LYING THERE BESIDE YOU ONCE AGAIN ... ALL THE LONELINESS WILL END. HOLD ON A LITTLE LONGER. I'LL BE ROUND, COLLEGE TOWN, AND THE STUDENTS ALL RETURNING BACK TO HOME... BUT NOT YOU...AND THE SMELL OF HICKORY BURNING IN THE FLUE ... KEEP IT GOIN' AN HOUR OR TWO. 'CAUSE I'M ON MY WAY TO YOU. AND I'M DRIVING THROUGH INDIANA IN THE RAIN.

SUCH A QUAINT LITTLE TOWN, POPULATION TWENTY-THOUSAND; PICTURE PERFECT, FROM A POSTCARD, LIKE I SAID WHEN I PERFORMED HERE THAT ONE NIGHT. IT WAS LOVE AT MY FIRST SIGHT. JUST ONE THING WAS MISSING... I WAS TIRED OF ONE NIGHT STANDS IN EVERY MEANING OF THE WORD. THEN I CAME HERE. I FOUND YOU; AND THE PIECES FIT SO NOW I'M SETTLING DOWN. ME MISTER "PAINT THE TOWN!" GOD, I MISS YOU WHEN YOU'RE NOT AROUND. GET ME THERE BEFORE I DROWN IN INDIANA IN THE RAIN.

34 JAL Page 06

SO NOW, WE BUILD OUR LIFE TOGETHER! YOU AND ME, OUR APARTMENT, AND YOUR BIG DOG NAMED FRED! ALTHOUGH IT'S REALLY SHITTY WEATHER, MY TAROT CARDS SAY: "BLUE SKIES AHEAD!" NOW I RUN UP THE STAIRS, THROUGH THE DOOR, INTO YOUR ARMS. BOY, YOU LOOK GREAT! YOU SMELL GREAT! WHAT IS THAT COLOGNE? "ETERNITY" I KNOW; AND THAT'S SURELY "APROPOS" FOR ETERNITY'S WHAT WE'LL SPEND WITH EACH OTHER, A BOY, A DOG, AND HIS LOVER; AND A JEEP THAT'S ALL TERRAIN. FOR GETTIN' THROUGH TO YOU, IN INDIANA IN THE RAIN.

I couldn't believe I found him. Chad. He wanted everything I wanted; the white picket fence, 2.3 kids, and a big hair sheep dog. He even wanted to marry me. I don't mean date indefinitely. I mean marry. The church, the flowers, the gown, everything. When we were together there was no one else. We were this bonded mess of flesh and bone and (Pause) blood.

(Possible piano over-lay) (Danny walks to the piano after saying the word "blood.n to check in with the accompanist, and make a decision to say what he is about to say next.)

35 JAL Page 07 health. We'll be fine. We weren't. We argued constantly, I kept blaming him for things that weren't his fault. Finally when it came right down to it - the commitment. I couldn't handle it. He was 10 years my senior. I had so much life ahead of me, I thought. I couldn't risk it. I couldn't risk not knowing my status, checking in every six months and still not really knowing; living from blood test to blood test. So I left. Not a word of explanation, I just disappeared, cleared out my stuff and left the key in the mailbox. For months I didn't call, didn't write, nothing. A year later there was a "developmenf' which made me realize that I had cut off my only love. The only person I loved that loved me back. I ran back trying to find him. He was gone. He died one month earlier. My only excuse is that I was young. You can never know how much I loved him. Love him.

(Song cue {5}. "Our Private World. If) OUR PRIVATE WORLD IS LIKE A PLAY ABOUT A PAIR OF LOVERS. THE PLOT SAYS ONLY WE MAY ENTER, AND ONLY WE MAY SHARE THE LIGHT OF LOVE STAGE CENTER. OUR PRIVATE WORLD IS SWEET LIKE THIS, COMPLETE LIKE THIS. FAR BEYOND THE THRONG SURE AND STRONG, WE BELONG TOGETHER,

Well My career eventually took off again with a flying start. No monkey jokes please. I was cast in South Pacific, as a sailor. I know it isn't much of a role, but at least it is human. A rather butch role I thought. 'Wow they must think I am really a great actor. They must

36 JAL Page 08 think I can portray a straight man, a big butch sailor." (pause) I was not hired back next season. But it didn't matter because that was the year that my dream was fulfilled. Guess who was starring in South Pacific?! Howard Keel!

When I was on the east rehearsal platform for South Pathetic. as we so lovingly called it. I heard rumor that Howard was on the west platform. I disappeared running full out across the stage just to sit in the grass and watch him warm up.

(Song cue {B}. "Meeting Howard. ") MA SAID, '''-URN OFF THE T.V. SET!" I SAID, "MA Irs NOT OVER YET." SHE SAID, "HONEY, Irs WAY PAST TWO." "BUT TOMORROW I DON'T HAVE SCHOOL!" "AREN'T YOU SICK OF THE LATE NIGHT SHOW?" "NO! AND THERE'S JUST A BIT TO GO." I IN GLORIOUS TECHNICOLOR, AND IF I HAD MY DRUTHERS, I WOULD BE LIKE THE...

HERO OF M.G.M. HE'S THE BEST OF THE LEADING MEN. HE WAS DASHING IN KISS ME KATE, AND IN SJ::IQWBQAI HE WAS JUST GREAT! IN THE FIFTIES HE HIT HIS STRIDE. T I COULD WATCH THEM TWENTY-FOUR HOURS A DAY. MY LIFE WOULD BE A MATINEE. MY TROUBLES WOULD GO FAR AWAY, YOU SEE, IF I COULD...

37 ~L P~eOO GUYS WOULD ALL BEG FOR ME TO BE ON THEIR TEAMS. IN MY DREAMS.

NOW I'M MEETING HOWARD. WHAT A THRILL FOR A KID MY AGE, WHAT A THRILL TO BE CENTER STAGE WITH HIM. NO MORE AWHIM. NOW I'M MEETING HOWARD. LET ME SAY SOMETHING SMART YE KNOW, LIKE... "LOVED YOUR MOVIES SINCE I WAS..." NO! I HOPE I DON'T KEEL OVER I WILL BE IN CLOVER WHEN WE MEET AND THEN ... I'LL HAND HIM MY PEN. AND ASK HIM FOR HIS AUTOGRAPH... OH GOD! I HOPE HE DOESN'T LAUGH. SHOULD BOYS HAVE MATINEE IDOLS? IS THAT QUEER? I MEAN ODD?

BUT HOWARD, YOU WERE A BROTHER AND A DAD. THE NORMAN ROCKWELL PAINTING I NEVER HAD. WHAT? HE'S HERE? OH MY GOD, MY KNEES! MR. KEEL... "CALL ME HOWARD PLEASE!" JEEZ LOUISE!

38 JAL Page 10 NOW I'M FRIENDS WITH HOWARD. "FIRST NAME BASIS KID, YOU AND ME." "HEY YOU DANCE PRETTY WELL FOR TWENTY-THREE" "BUT I'M NINETEEN." "OH I'M SORRY, JOEY (DANNY) I DON'T HAVE A SON BUT IF I DID, I'D LIKE HIM TO BE JUST LIKE YOU KID." OH NOW I CAN DIE HAPPY, MISTER KEEL, I MEAN PAPPY, CALLED ME SON. SONOFAGUNI

After my encounter with Mr. Keel I was the happiest man in the world. He told me that I remind him of himself at a younger age. He gave me hope, hope for the future. My future, however, did not play out exactly as planned.

(Light change)

This is when it always seems to happen. I am on the top of the world then something seems to spit me to Antarctica. I found myself in the hospital. But that's another story.

My mother and I had a very speclal relationship. We would watch Little House On The Prairie together. Michael Landon, wow, now there is a hunk of man. There were four episodes of LittleJiouse that Michael took off his shirt. I had all of the beginnings of these episodes memorized. (In a southern dialect.) nMy Mr. Landon, you give me palpitations, Why don't you come sit down over here with me, neither of us are to terribly large in diameter. nAlma!-Summer And Smoke.? I'll stop. Mom and I both had secret crushes on him. We would sit and watch him in awe. Mom would have one of those big, thick. peppermint candy cane sticks in

39 ------JAL Page 11 a bowl. She would hit it with a hammer and give me chunks off it. I used to think it made the candy better. Because I never liked full candy canes. It was like magic. I would lay on the floor next to the recliner. She would nudqe her feet under me to keep them warm while we watched the big, floor console T.V.. Mom would sing songs to me during the commercial breaks. .

(Song que {l). The actor will sing small excerpts from the songs "Boom Boom, Didom Dodom, Wadda Ma Choo." and "1 Love You, A Bushel And A Peck. ")

The best song she sang to me, my favorite, was at night while I was falling asleep.

(Song cue (B). "Sleepy Man.") BEEN A BUSY DAY, WITH SOME HEAVY SCENES, BUT YOU'VE DONE YOUR BEST, SLEEPY MAN. LET YOUR TROUBLES LAY, LET YOUR BREATHIN' EASE, WHILE I RUB YOUR CHEST, SLEEPY MAN.

YOU'RE ALL DONE WITH THE RUN OF THE RACE, FOR TODAY. YOU'VE GOT PLENTY OF RUNNIN' TO FACE COME TOMORROW. I'M RIGHT HERE. ALWAYS NEAR. ALWAYS LOVIN' MY DEAR, SLEEPY MAN.

NOT A GIRL I KNOW, HAS A BETTER DEAL, THAN MY LIFE WITH YOU, SLEEPY MAN. IF I LET IT SHOW, HOW YOU MAKE ME FEEL, WE'LL BE UP 'TILL TWO, SLEEPY MAN.

---~------_._- JAL Page 12 YOU'RE ALL DONE WITH THE RUN OF THE RACE, FOR TODAY. YOU'VE GOT PLENTY OF RUNNIN' TO FACE COME TOMORROW. I'M RIGHT HERE. ALWAYS NEAR. ALWAYS LOVIN' MY DEAR, SLEEPY MAN. I'M RIGHT HERE. ALWAYS NEAR. AND I LOVE YOU MY DEAR, SLEEPY MAN.

(Near the end on this song Danny should breakdown and not be able to finish the song.)

Fuck! I was so stupid. She loved me so much. I was 15 when she died. She lost her hair. She wheeled around an oxygen tank. She was constantly in the hospital. Did I need more clues? I was a stupid fifteen year old kid. I thought mom was indestructible. "Oh mom wont die she's just sick." My mom was a pin up girl during the war. She had the longest set of legs around. Something that beautiful can't die. The last thing she said to me was a line from our favorite Little House episode. I know that sounds odd but it was a line a mother said who was dying and would never see her children again. I insisted that it be printed on her stone. She said, "If you can't remember me with joy and laughter, don't remember me at all."

I know one thing. I will never die in a hospital. I will die gracefully, in the theatre. Maybe in the middle of a show like Irene Ryan did during .Pippin. Oh, no I couldn't, then I would be replaced with Martha Raye. And I don't plan on having dentures. My friends have tried to get me in the hospital before. They mean well but I would just say, "No! Bring me to the theatre, and I will become all better." I always did. I will know when I am ready. I will have planned for it. I can't explain it. I just know. This place is a refuge somehow I can always run here

41 JAL Page 13 when I need to get away. This is the first place I ran when I lost my other parent. Dad, (thinking better of it) my (pause) ex-father has decided that no thing like me could ever be from his genes. I can still hear him now. Spitting as he talks in that lovely articulate way of his.

''You are going to hell. You know that don't you? What have you done to us? What will we say to people? This is an addiction just like drugs. I sure as hell didn't make you this way. You can't blame this on your mother and me! You can stop it. If you are gay then you must have AIDs. How do we know that we are not infected. We probably have it to don't we? You are on your own. You are not a part of this family. You are not my son. My son is normal. When you choose to be normal then I will love you."

I should tell you now that Danny Keel is a stage name. The name Danny Keel is a tribute to the two greatest entertainers in the world. Well? (pause, psuedo waiting for answer.) Howard Keel and Danny Kaye of course. The red hair? It is far from a coincidence! Thank you Miss Clairol.

No one in my family is a redhead. I suppose that is part of the reason that I am. I have realized that family does not mean blood or similar traits. Family is who you love and who loves you, unconditionally. Unconditional love that is very important. I ran to the theatre and met my family. They are the biggest family ever. (This section should be played speaking to the audience, the family.) Brothers, sisters, uncles, aunts, mothers, fathers. These people will always be in my soul. And I know that even though I say goodbye tonight and I will never see them again. I know that I will always be in theirs.

(Alternate Song que (9). HYou've Got To Have Friends. H) YOU'VE GOT TO HAVE FRIENDS LA LA LA LA LA LA LA LA FRIENDS

If you can't remember me with joy and laughter, don't remember me at all.

42 JAL Page 14 (As "You've Got To Have Friends" plays there should be an immediate blackout so that the audience cannot adjust there eyes. the blackout should be long enough to be a little awkward. And then there should be a beam of light focused on the stool where Danny has left his microphone. When this was done originally there was no bow to release the audience. However, feel free to think about it in depth and make your own decision.)

43 JAL Page 15 "Friends." by Mark Klingman and Buzzy Linhart

"I Come To Wiveth Wealthily In Padua." by Cole Porter

"Over The Rainbow." by Harold Arlen and E.Y. Harburg

"Indiana In The Rain." by Christopher Jackson

"Our Private World." by Cy Coleman, Betty Comden and Adolph Green

"Meeting Howard." by Christopher Jackson

"Sleepy Man." by Robert Waldman and Alfred Uhry

44 ------...... -

Stl

SS3~O~d When I first thought of presenting this piece of theatre to a committee of instructors I have grown to love, but also grown to know well, I became very scared. I wanted to do a few things that I thought would make them cringe. First, I wanted to write the play myself, because I feel there are some things that need to be expressed that haven't been in other people's work. Also I quite frankly wanted to see if I could do it. Second, I wanted to create this piece with a one person narrative. There would be no changing of characters which seems to be somewhat required in these thesis shows; from what I have seen in the past. Also this character was going to be a gay man. Ever since I arrived much of my work has been focused on straight, as opposed to gay, theatre. Because of my background and being a gay man many people would judge that the heterosexual part of theatre has eluded me. That, to put it bluntly, I need to butch it up a bit. Third, This is a musical theatre piece. Now I knew coming to Ohio State that there was not a lot of musical theatre presented here. Musicals have been done in the past at OSU, but it is not a common occurrence. And anytime I mentioned it I felt a cringe from most everyone around me. needless to say the musical theatre had an air of disdain attached to it.

So you could see how I could be petrified. I wanted to do all the things that didn't seem to fit in here at Ohio State. However, to speak about the first statement, I thought that writing a play would only further my understanding of acting. After all, that is what actors do. Work with scripts. What better way to understand a playwright then to become one. Second, I found out that there is nothing wrong with sustaining one character throughout a

46 thesis production. In fact I realized through this process that things do not have to be multi-character to be interesting. Thanks to my instructors who believed in me; I have created many other memorable characters here at Ohio State: An aging drag queen-THE MADNESS OF LADY BRIGHT, a foppish British aristocrat-THE COUNTRY WIFE, a sixty-year-old Irish missionary-DANCING AT LUGHNASA, THE gentleman caller-THE GLASS MENAGERIE, a twentieth century Protestant minister-YELLOW MOON RISING, a conservative-republican businessman in the 1980s-WRECKED EGGS, and a flamboyant young English dandy-TH E IMPORTANCE OF BEING EARNEST. Talk about diverse. And none of these characters ever metamorphasized into anything or anyone else during the course of the play. Don't get me wrong they had definite transitions and changes of idea, but they were still the same people. There is an art to creating and sustaining one character. One must know everything to know about that character and must find the arc of that character's actions within a play. To sustain the believability of any character is extremely difficult and a tribute to the art of acting.

Now to address the second part of the second statement. Every gay character is different just as every straight character is different. One cannot put all gay characters in a pile and label them. Just as one cannot put all characters who happen to be African-American in a pile and label them; Or Indian, or Asian, or Caucasian every single person is unique and as actors it is our job to find those unique qualities. Here in Columbus alone I have played many diverse homosexual characters: a dull-witted youth-JEFFREY, a deceiving sexual preditor-2 BOYS IN A BED ON A COLD WINTER'S NIGHT, a middle-aged PWA showtune

47 connoisseur-LOVE! VALOUR! COMPASSION!, a sex-crazed New York dancer-PARTY, a Bendel make-up consultant/performance artist, IN A DARKENED THEATRE. Each character came from a completely different background and are completely different people.

My last subject is that of musical theatre. Musical theatre is the bastard child of theatre and opera. many people find it to not be an art form. That is not so, it has a place and an artistry. To say that something such as the musical is not an art form comes from a very narrow mind. Musical theatre has made a huge impact on people for over one hundred years. It has molded generations and helped to bring nations together with song. Since music is the universal language and all colors, creeds and backgrounds communicate with it, it is something I had to use in my piece. Coming from one minority to many majorities I had to speak a language that everyone understood.

When my committee approved my selection you could imagine how baffled befuddled and extremely happy I was. Needless to say I jumped in with both feet.

Process .

Every creation of an original work can be approached from different angles. And believe me I have approached this from many different directions. I believe that grad school is a place for exploration; and so with all of my roles I have tried to approach each of them in different ways so that I can

48 find the right way for me. During my process I used a conglomeration of different ideas and theories and these were my ways of finding Danny:

Relaxation

Many times we don't bother to warm up our bodies correctly. I decided that during this rehearsal process I would take great care to relax my muscles and warm up my body. You see I haven't done this with other shows except during the run. This time I attempted to try warming up and relaxing all through the rehearsal process. Which in this case was a couple of months.

I think it helped me quite a bit. I felt much more at ease than I had in the past. The only time I ever felt this relaxed on stage, funny enough, was when I was playing in THE GLASS MENAGERIE and WRECKED EGGS. These were two of the most heterosexual roles I have ever played, how interesting. I would have thought I would have felt more relaxed or at home in a homosexual character. I used many of Phil Thompson's teachings of yoga and relaxation. These seemed to help me sink into myself, but also energize me into the life of the character.

Substitution

This may not seem very important in my piece because of the bare stage; however looks can be deceiving because it is one of the most important things I use in this piece. The theatre itself is a huge substitution. In Danny's world this place is his Carnegie Hall; while in reality it is a smoky,

49 dimly lit lounge. I have never run to the theatre to find solitude, and care. Yes it has always been a place for me to express myself. But the desperate love Danny has for this place, is not in me. He uses the theatre as therapy and a refuge to escape; while I use the theatre more as a chance to grow and learn and create, not run away from the outside world. So this lounge hall that Danny is in must be a place for me to run to when there is trouble, when I am desperate. It must be my bedroom as well as the theatre.

Many times I would bring props into the rehearsals with my pianist, James. I would bring a picture I have of my mother pregnant with me to find that unconditional love Danny has for that part of his family. Or pictures of me with Patti LuPone to find the idolatry that Danny has for Howard Keel. One day, while we were rehearsing something a little scary happened. James and I were rehearsing the part of the play that Danny loses his lover to AIDS. I had on the piano that day a ceramic clown. This clown was given to me by Larry Fink. He is one of my dearest friends and helped me a great deal with this show. Today Larry decided to show up to watch rehearsal and give me some feed back. A week earlier Larry was in the hospital in ICU. We did not think he would pull through. Larry has AIDS and has been battling it for years. But recently it has gotten the best of him. When I said the words about Chad's death I fell sobbing to the floor. I couldn't stop. Larry came to me and hugged me on the floor of the lobby where we were rehearsing. He held me there and told me that he would always be with me even after he left this earth. That substitution was almost deadly. I kept thinking about how I would miss him so when he is gone. I know that, that must be how Danny feels about the death of Chad. I don't know what I will do when he goes. He is my best friend and my only family. Everything I do I

50 seem to do for him. That clown on the piano almost made me change my piece because it hit too close to home.

Honestly I did use that substitution during the piece. It was just so emotional with him there that I couldn't go on. But instead of having Larry there and the clown out in the open, it was sitting under the piano, where no one could see it but me. It was part of the set, just unseen!

Emotional Memory

To use emotional memory was easy for this piece. So much of this piece is very close to me. So the memory came quickly. I did an exercise one rehearsal that I feel was priceless in the this process. This rehearsal was one on my own; James had something else to do this evening. I went into room 101 at Drake Union and pulled out the floor mat. Then I brought blankets and sheets and pillows. As many as my car would hold and threw them all over the room. Then I put on a blind fold and turned off all of the lights. I could see nothing. I then proceeded to go through the show.

It was incredible. I stopped "acting", and I started living. You see I realized I was having inhibitions. I was too scared to do anything because I was scared to make a mistake. In this situation I couldn't make a mistake because there was no one to see me; not even myself. And I couldn't get hurt because of all the cushion in the room. The words I was afraid of forgetting were all there and my body was free. However funny enough, in the middle of the exploration I started thinking, "I wish Phil and Jeanine were here to see this." But I caught myself and went on.

51 I found myself taking huge risks with my body. I would do things I would never do on stage, but it allowed me to experience what would happen if. This is the most wonderful part however. The emotions just flowed out of me. They were all coming to me effortlessly. My emotional memory was working overtime, I assume, because my senses were not having to. It was the most wonderful natural thing I have ever felt. It reminded me of a few, not many, instances when I would sob in Phil Thompson's acting class. I have never done that. I couldn't until I came here to find the things inside of me. I would push and make the emotion happen instead of allow it to.

I just wanted to play, and it ended up being wonderful work. I am not sure if anything like this has ever been done, but I feel like I have found a new way to explore.

After the exploration on the floor with my emotional memory; I rolled everything up and decided to do the piece again. By now it was late and I was very tired. But I felt that it needed to be done. It was the most natural and real I have ever felt. I wasn't pushing for the emotion during The songs like I usually did. Everything felt very realistic and believable. Maybe it was because of my fatigue, but I would like to think that the exercise allowed me to free myself from the bondage of my body. I was too worried that maybe I was doing it incorrectly; that possibly there is a definite right and wrong way of acting. Because of this I was hindering myself from learning and not allowing myself to jump in with both feet. Thank goodness I found this. I hope to try something like this for all of my roles as just a reminder of my body's potential.

52 Charm

Charm on stage can be a wonderful thing or it can kill an actor. I feel that I have that charm, but it is killing me as an actor because I tend to rely on it. Many times I will allow my stage charm to carry me through a show. However the odd thing about this charm in SIMPLY DANNY is that Danny must possess lots of charm. However Joey does not need to possess this charm. So to work on this I invited a few undergraduates that I trust to watch my rehearsal. I thought it would help me to have another eye, because I wanted to see if they saw Joey or if they saw Danny. And I chose these undergraduate because they fresh ideas about the theatre. They haven't been told what is right or wrong, they can still make their own decisions. I knew that they would simply watch the show and tell me what they thought without trying to be scholarly and important. Because we have to dissect everything we see for technicality, and believability, many times I think that graduate school hinders us from enjoying theatre as an audience member. This way I have a fresh idea of what people think. It is just like a child that sees an overweight person they will say, "Boy look at that fat hog," right to their face because that is exactly what they think. No inhibitions. However I was also hoping to give them a boost of appreciation in this department. They need to think many times that their opinion counts.

Anyway, the inevitable happened. The first thing out of their mouth was, "Joey are you sick?", just because my character is sick. Then I knew I had a lot of work to do to make Danny a separate entity from myself. So I went

53 back to the mirror and the video tape. I looked at myself doing old shows and monologues and movement pieces in Jeanine Thompson's class. I saw my idiosyncrasies. There were many and they were huge. After finding my ..Joeyisms" as I like to call them. I started the piece anew. I tried taking out all of the extraneous movement and repetitive vocal patterns (my charm) and found what I think is a very different person.

I asked my undergraduate friends to come again. Yes they saw a difference. They asked me about the journey of Danny this time instead of Joey's journey.

This process was so freeing and eye opening to myself. I am so happy I had the time and the chance to experiment. Usually the experimentation falls by the wayside; because of lack of time or lack of know how. I have been given both of these here at OSU and I thank you for every moment of it.

54 .. ... -_... - ._------.... ss

NOIIVnlVI\31S0d It is over. I can't believe it is over. The relief is unfathomable. However there is also a great feeling of accomplishment. I have presented something that is completely mine. It is my baby. You know at production meetings when the stage manager says, "This is not your show, it is not the director's show it is not our show; it is either the departments show, the show, or call it by its title." Well finally this is my show. I feel confident that this show is very marketable. I hope to bring this to cabaret spaces in New York and around the country. I actually have a lead for Eighty-Eights Cabaret in the Village. And I have been approached by the Ohio AI DS Coalition, the Department of Health Services at Ohio State, and The Columbus AIDS Task Force to perform this show for them to raise money. I have also been told that I could market this and tour the circuit.

The video of the show is very eye opening. I think that many things could have been done differently. I saw a lot of tension and stress in my face and body. Most of it caused by deadlines and lack of a piano stool and tuned piano until opening night. But there were moments when I pushed the emotion out of me instead of letting it come out if it wants to. That angers me a little because I worked so hard at finding that balance. But when an audience is added into the picture things change.

Also I was none to happy with my vocal quality in singing. There were notes that just weren't there. Of course there was a sickness coming on, which I found out a week later was the flu. But other than that I thought everything went rather smoothly. Even some unplanned interaction with the audience, a few late comers. They wont soon be late again.

56 · - -_.. __._--...... _~

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3~lV3Hl A~V~OdIl\J31NO~ AII\J Ever since I was a very young boy music has played a huge part in my life. You see, in the house I grew up in music was not a commodity. This was because my fundamentalist parents thought it was evil. So every day after school I would go to the library downtown and listen to the vocalists: Barbra Streisand, Melissa Manchester, Bette Midler, Barry Manilow, Johnny Mathis, as well as the original cast albums: MACK AND MABEL, THE SOUND OF MUSIC, GODSPELL. These albums (and at this time they were albums, real vinyl) made such a huge impact on my life. They moved me to tears. I would laugh uproariously in the library. They gave me a glimmer of hope. Sometimes I would leave the library in a deep melancholy because of what I heard. All of this was done without the visual element, just sound. I did not even realize at this time in my life that there was a visual element. When I found out I knew I had to be a part of it. Ever since then I knew I wanted to combine what I heard on those records with the visual aspect.

However, the more I grew, the more I heard that I should not bother because it is not real theatre. I heard that it is not art it is just entertainment. I heard that cabaret is for losers who could not make it on Broadway. Weill believe that cabaret and musical theatre are powerful forms of theatre, just like performance art, and drag theatre, and camp. It can teach us about being human and help us to become more in touch with our emotions. That is exactly what theatre does.

60 A song has the potential to dig into someone's soul just as well as the spoken word. Many times it works better because there is a universality about music; and when one combines it with theatre anything is possible. With music one does not always need words to bring across the emotion or idea that is to be conveyed. Simple sound can be a-conductor for emotion and understanding. I, however, am dealing with the art of the song, lyrics set to music.

Michael Shurtleff said in his book Audition: "Every truly successful actor must be ready for everything. If that means being able to sing, dance, act, juggle, and walk on one's hands then so be it. Maybe musical comedy won't change the world, but it will definitely pay the bills."

I have learned a lot from Shurtleff, however this is the type of attitude I am speaking of. Shurtleff says that music cannot change the world. I beg to differ. I believe it already has. PORGY AND BESS changed the face of theatre by being true to the music. Elvis and The Beatles changed the world with their music. Think about how things were before they came into view. And Madonna has changed entertainment forever. She pushed the envelope so far, the world is not sure any more if we can go further. Music is the pulse of life and when it is combined with the energy of theatre then anything is possible.

All young people deal with their sexuality at different points in their lives. Some do not even really come to terms with it until they are adults. Now, by coming to terms with it, I mean finding out their sexual orientation. You see

61 we live in a heterosexually dominated world. And the heterosexuals that dominate that world tell us how to act, eat, play, and yes love. They tell us how and who we love. And because of this domination, young adults that are gay or lesbian never get a chance to have help with their coming out process.

One reason they do not have help readily available is because they are afraid to speak up about their feelings. They are told by the world that it is wrong to have those feelings, and they are not told why. Or they are told, "Because God says so." which is not sort of reason. And it is also incorrect information. Jesus Christ never said one word about homosexuality in the Bible. Or they are met with violence and hatred. Why? Because the heterosexual people are scared. But ironically none of the gays know why. We do not want to convert them, we need them around to make more of us. We cannot take over the world until we figure out how to reproduce.

My style of theatre is, yes, gay playwriting; but it is different from say Kushner, Kramer or Fierstein. These playwrights tend to be directly political. Where I deal with politics through emotion. I do not want to preach my ideas to people, as these playwrights tend to do. I would like to think I am more like Lucas in my playwriting. Craig Lucas brings one into a world and then instead of telling an audience what they should think; he challenges them to think for themselves. He, as I, want to make people find their own ideas about a show. And I believe young people are the first people we should start with.

62 Part of my goal as a performer is to help these young people understand that gays and lesbians do exist. I want them to know that someone cares about them and wants them to be happy. The happiest day of my life was the day I came out of the closet. After years of repression I was finally free. I could fall in love. For years I did not think it was possible. And everyone told me it was wrong. I want to be there for kids like me. I want to tell them it is okay. It is okay to be who you are.

Music is a language all it's own. And it can be used for many different things. I will discuss how music can be a therapy for young adults.

"Music can be a therapy for young homosexuals. It brings them together, just like all minorities, music is the backbone of the culture. The blacks have negro-spirituals, and rap. The Hispanics have salsa and Latin music.

Homosexuals have showtunes, opera, and club music. JJ (The Catholic Times.)

When I saw this quote in The Catholic-Times newsletter, a way to alert the heterosexual white community of where one might come in contact with this evil lower form of life. I had to use it as a positive quotation, because I could. The hatred and bigotry that gay youth have to deal with at such an impressionable age can be too much for a young adult. This could cause them to never come to terms with their sexuality and make it worse for everyone in the long run. Also with my music I hope to make the heterosexual majority understand how wrong they are for hindering our development, and to make them understand that we are not a threat. They need to know that we are human and want only the same things they have:

63 life, liberty, and the pursuit of happiness. We have been, and are still denied this by the majority. The heterosexual majority seems to fear us; for no other reason than they don't understand us. That is why this piece is so important. I am educating by entertaining. We do love, we do live, and we do have those rights. Homosexuals are no different from any other person. We are not a clump of deviants. We are rich, poor, black, white, famous, intelligent, uneducated, handsome, ugly, talented, we are anything and everything any heterosexual is or can be.

As well as all of these, I need to touch on one last thing in my one person show.

AIDS.

AIDS (Acquired Immune Deficiency Syndrome) plays a huge part in SIMPLY DANNY because the character, Danny, has been in and out of the hospital and living with AIDS for ten years. AIDS is a viral disease that impairs the immune system of the human body. It slowly preys upon it with a great variety of infections. AIDS is caused by HIV (Human Immuneodeficiency Virus). The disease is transmitted by the contamination of the bloodstream with HIV infected body fluids, particularly semen, breast milk, and vaginal fluid. This slow decay of the body allows AIDS patients to think about their death for a long time. Danny in SIMPLY DANNY has only been PWA (Person With AIDS) for less than a year. However the year before he was HIV+ (positive). Those were the years when he had hope for a cure. Many times, and definitely with Danny, when a person becomes PWA all hope disappears. Because then it is only a matter of time until -_._------ 64 death. Many people deal with this waiting for death in different ways. I will be discussing three of these, the most prevalent in the AIDS community.

#1 The Cling. , The patients feel that they must cling to something that keeps them going. This could be a spiritual connection, or a material-physical object. Spiritual: like angels, (thank you Mr. Kushner) or dolphins that hold the myth of carrying people's souls to their destinies. Many times it is a religion of some sortthat gives one faith in a higher power. Quite often it can be something more physical such as a career or hobby. At AIDS coalitions and healing weekends they try to find PWAs something to cling to, to make their time on earth more productive, or at least enjoyable. This is a very healthy preparation for inevitable death. It also has been proven to keep people alive longer, because they have something to live for.

#2 The Withdrawal A friend of mine, Brian, had been HIV+ for four years and leading a very productive life. When he was given PWA status he went into a major withdrawal. Brian locked himself into a room, painted everything black, including the windows. He accepted no visitors. Only food that he had delivered was allowed in. One day he stopped accepting food and a week passed so we knew he was dead. He died in that room with no one. Not a thing. He lay in his bed with a pile of his own excrement in the corner and left this world.

Gaymen especially seem to go into withdrawals like this because they blame themselves for becoming sick. Since AIDS is a sexually transmitted

65 disease, and since sex is a celebration of gay culture, many times gay men feel they are dying because of who they are not because of a disease.

#3 The Suicide Suicide is always a way out of any situation. It is never the best way, but it is definitely the easiest. Since AIDS does deplete one's immune system many times the skin becomes thin and blotchy, a lot of weight is lost and it makes one look sick. For this reason, as well as many others, many patients opt for suicide because they want to be remembered the way they were when they were alive. It is such an accepted thing now; that there are 8gencies devoted to helping AIDS patients follow through with their decisions.

Danny is a three way split with these decisions. He, as an artist, is a very spiritual man. He clings to his career as something to propel himself through life. However he is also vain and does not want his public to see him in a poor state of health. So after his final performance, his best performance, he will kill himself. It is not a choice for him, it is a destiny.

Many people say that AIDS Theatre is becoming cliche. They say that they do not want to hear it any more. When I told my friend Trea about SIMPLY DANNY she said that she did not want to see it because it dealt with AIDS and she was tired of hearing about it. I say that it should be spoken about until there is no need. And there is a need, a major need. I polled one hundred students between the ages of 18-25 and the results were extremely frightening:

85% did NOT know what the initials HIV stand for.

66 88% did NOT know what the initials PWA stand for. 56% did NOT know what the initials AIDS stand for. And the most frightening statistics are: 76% have NEVER received ANY instruction on the disease of AIDS. 96% think that they do NOT know anyone with HIVor AIDS.

That last statistic frightens me more than anything. Every person on this earth knows someone with AIDS. Every single person. That is why it is very important as theatre artists to tell people, to educate people, to make them realize that they can die from this. Young adults need to know that they can contract AIDS from anyone.

This is my contemporary drama. It is what I want to deal with, with my playwriting and acting. It is what I will strive for in my theatre. To quote Katherine Hepburn, "Make it real, and make it right, or don't make it at all."

67 89

SISA1'v'N'v' ~31.~'v'~'v'H~ Danny Keel

I was born Francis J. Pinkerton, February 01, 1962, 6:30PM and was the fifth of five children. Being born in the Kingslawn Trailer Court in the double-wide his parents owned I was thrust into the heart of my life as dirty, white-trash, below the poverty level urchin. My parents Jean and Anthony Pinkerton bought the double-wide when they were married in 1948 and have lived there ever since with my siblings Jean, Lynn, Wayne, and Wade. Mybrothers were married and moved out when I was very young but my sisters produced many babies out of wedlock that lived with us in the double-wide. So privacy was at a minimum. The sooner I could leave, in my opinion, the better. My family is what one would call "pure white trash." No one in my family has ever been respected by anyone. I want to be the one to change all of that.

Education was not something that was stressed by the Pinkerton family. Neither of my parents went through high school and most of my siblings didn't graduate. There was almost a push in with them to not be educated. And having all of one's teeth in tact seemed unfathomable.

O'Fallon, the town in Missouri we lived in was very small but growing. Fifteen-Thousand lived there and the schools were overcrowded. It was a very normal town that was caught in the past. The general store had hitching posts in front until I turned at least thirteen.

69 ·My school years were some very confusing years. I wanted to make something of my life, but was unsure if it was possible because no one else in my family had. They wanted me to become a minister; and I had every intention until I reached my fifteenth year and discovered theatre. And realized that one can bring happiness to people by just singing a song. But you see my family was very religious and so theatre did not playa part in my life. It was greatly discouraged. Dad would say, "Only freaks and queers do that acting stuff." But the bug had bit me and I could not turn back. My days of preparing for the ministry were over.

However religion (Fundamentalist Christian) still played a huge part in my life. All my life God was there for me, even when the Protestant Christian background was not. As a tike I went to church on a regular basis. Sunday mornings, Sunday nights, Wednesday night bible study and Saturday evening praise service, most of my life was filled with religion and worship. Itwasn't until I was older that I actually found God. Or God found me.

Finally I turned 18 and went to college; the only person in my family to ever go to college. I broke away. I succeeded already on so many levels just by leaving. In college my life turned upside down, for the better. This is where God, not religion found me. I came out of the closet and announced my homosexuality. Only after I realized that being gay isn't a choice but a way of life; and that God made me this way so he must love me. It is the organized religion that wants to hurt me. And says I am less than human.

Being gay has changed my entire life for the better. I am very proud of my homosexuality and will let people know that I am gay, just as I would let

70 people know that I am blonde because it is an open part of myself. The word "gay" does come before my title. Francis is a "gay actor" a "gay singer" a "gay uncle" a "gay brother." That is how important it is to me.

When I became a professional actor I had to choose my name for the Equity lists. So since I have a great admiration for the golden age of theatre and Hollywood. And a great respect for the older generation of actors. I took on the names of my two favorite actors Danny Kaye and Howard Keel. And so Danny Keel was born.

PHYSICAL TRAITS

In the play I am a slim, tall, dyed red-headed man, 6'2" and weigh about 1651bs. I have been told I am very attractive, but I think I am loosing that handsomeness that leaves with youth that I so love. You see in 1985 I became HIV+ positive and now at the ripe age of 35 this disease is starting to show. I battled it as long as I COUld. At 34 I was diagnosed with full blown AIDS and have been deteriorating ever since. So that is why this concert is so important to me, because, I need to perform it while I am still handsome and lively. I am very pale, some of it has to do with the disease, but I am just a pale young man. British and Jewish, it tends to happen.

I am not happy with my body at this point in my life. I am not toned and am skinny in my opinion. The only thing that I have going for me are my teeth. They are a brilliant white. I have been told my smile is like a beacon to light up the night. How very "Song Of Solomon."

1 THE PLAY

In this play I am 35 years old. I live in Atlantic City, New Jersey and have a lovely daucson named Marlene. I am calling all of my family and friends together for this, my very last performance. Because after the show I will kill myself. You see AIDS is a disfiguring disease and homosexuality is a vain lifestyle. They do not go hand in hand. I have a following and a public and want them to remember me the way that I am, not the way I could be in six months. The only person on stage with me is my accompanist James. James is a very dear friend of mine and he knows everything. He knows how I will do it and has even promised to clean it up. He doesn't like my decision but has agreed to go along with it.

Everything I say in this show are things that need to be said. I don't want it to be a therapy session for myself though. I need to entertain the people and let them know how much they mean to me. That is why I chose this venue to present my ideas. I need the people to understand that I want them to know all of these things but I also want them to remember me with joy and laughter. If I didn't I would have just had a party. This is not a party to make people feel bad. It is a performance to make people celebrate their own life and to let them know how well they have it. I want them to walk away with smiles on their faces thinking not of my downfall, but of the life I gave to them.

72 This show means everything to me and I must make it the most important show of my life. There is a tension, because it must be brilliant. After all there is no encore for the human soul.

73 ------...... -. vL

SM311\~31N'1 Joey Landwehr 2363 North 4th Street Columbus, Ohio 43202 (614)261-8641

Saturday, January 20,1996

Ms. Patti LuPone clo The Walter Kerr Theatre 219 West 48th Street New York City, New York 10036

Dear Ms. LuPone,

Your QrLBroadway show was one of the most intense, and amazing shows I have ever seen. It is definitely the best thing I have ever seen on Broadway and I am not exaggerating! You have such great command of the stage and your voice. I have never laughed and cried so much in my life. When you "needed a moment" during your Sunset Boulevard-piece I literally held my breath. I can imagine no one else in that role. I saw Ms. Buckley and Ms. Close do it and as lovely as they were, all I could imagine was you. You are Norma Desmond. I am a MFA acting candidate at The Ohio State University. One of the projects in our curriculum that we must complete before we can graduate is to mount a one-person show. This one-person show can be anything. Anything that is that the graduate committee decides is all right to do. Most people do unimaginative things such as string monologues together that have a common theme. Or find a one-person one-act show and pay the royalties to perform it. After seeing your show I knew exactly what I wanted to do. You gave me the inspiration to write my own show using a story line that is connected with music. Your stories in your concert seemed to make sense with everything you did. It was not that singer patter that so many other performers do. It was real! I want this to be a real story. The piece is called True Colors, and it is really about acting a song, not just singing it but becoming one with the music and the lyric. I am hoping that since you gave me the passion and the drive to mount such a huge endeavor that if you can find the time to write me and give me some suggestions about acting a song and creating a

75 one-person show I would be incredibly grateful. After all you are the only person I know that can command a stage so fully. I want to be able to do that so I thought why not write the best! I know you are a very busy person, but I do hope you can find the time to write or even call me. If you were a part of my thesis I know that I would pass with flying colors. Not just because I could use your name (although that would probably be enough.) I could also use some of your grace, your know how, and your expertise to make this the greatest show to ever come out of OSU. Thank you for your time and I hope to hear from you soon. Sincerely,

Joey Landwehr

76 - Phone Interview Tuesday October 15, 1996 4:30 PM

Interview: Expert Patti LuPone

Patti LuPone: Hello! Is this Joey?

Joey Landwehr: Yes, 1

PL: Well, this is Patti LuPone. I heard you wanted to speak with me?!

JL: Yes, I am-

PL: How is your thesis coming along doll?

JL: Slowly. However I don't go up until February.

PL: That is fabulous. You have to do a one person show? I've done that, PIAF, it is fun but crazy. I did one at Julliard as well, the name escapes me, but Kevin directed it. What a mess.

JL: Kline?

PL: Yes. What a doll.

JL: Ms. LuPone, I can't-

PL: Call me Patti.

JL: I'm not sure if I can do that, but I will tr-

77 PL: Why not? I am just like everyone else. okay, maybe louder, (laughter) but I have a first and last name.

JL: All right. Patti. I can't believe I am speaking with you. You are a living legend.

PL: No, just a country girl from Long Island. (laughter)

JL: May I ask you a few questions?

PL: SHOOT!

JL: First, do you mind if I consider you an expert in the musical theatre field?

PL: Of course not doll.

JL: Thank you. My show is a one man musical, mostly inspired by you.

PL: Me?

JL: Yes I saw your one person show at the Walter Kerr last year. It was phenomenal.

PL: Thank you I am very proud of that. It was part of my settlement with Andrew.

JL: It made me want to do a one-person musical for my thesis. Songs tied together with monologue to form a play.

PL: My show was a concert, not a play.

JL: None the less, it gave me the idea. And most of the songs; "MEADOWLARK", "SLEEPY MAN".

PL: What? Not "ARGENTINA"? (laughter).

JL: No, but I want to talk about that to if I may.

PL: Of course.

78 JL: The inevitable question. What do you think of Madonna playing Eva in the movie?

PL: I am going on record saying that I think she will do fine. (sigh).

JL: I wish I was there to see your facial expression.

PL: Me to. You were saying?

JL: Yes, well. I was wondering if you could give me some pointers about a one-person musical and about acting, singing, and theatre in general.

PL: That is a tall order.

JL: Then let's get specific. What do you think makes a good one person musical?

PL: First let me say that it is not an incredible voice. Although God knows that helps (audible smile). Please, Elaine Stritch is dreadful, (pause) vocally. But I have so much respect for that woman. She can act the hell out of any song, anything. And that my dear boy is the secret of musical theatre. The songs must be treated with as much care as, if not more than the monologue in-between. You can't let the melody carry you. You have to live in every moment.

JL: Do you think that the songs are more important than the monologue?

PL: No! Not at all! But you see, young artists tend to ride on the music and let it carry them. Actors should dissect a song, just as much as they do a script. If not the whole piece will be emotional and fake. Young people tend to find an emotion and stick to it. While an experienced, (pause) No, I think I can say this. A good actor will find every moment in a song. They will switch constantly, listen to Piaf and Rosemary Clooney they do this incredibly well, or Jane Olivor.

JL: Thank you, I will.

PL: Oh doll I have to go. One more question.

79 JL: All right. First I would like to invite you to see my show, and if this isn't too tacky to ask. I would love an autographed picture.

PL: No problem. You have been a complete gentleman.

JL: All right my last question.

PL: Shoot.

JL: How do you prepare for a show?

PL: I do vocal warm-ups 11/2 to 2 hours before the show. Then I focus on my body, breathing and relaxation. The relaxation is very important. I had a wonderful yoga instructor at Julliard. She taught me everything. During all of this I have hot tea with orange rinds and honey constantly brought to me. And just before each show I have some sort of stimulus at my dressing table. Whether it be a picture, or a gift, just a memory. It is different for every show, Because every show is different. So I find another stimulus to motivate me. For example: during SUNSET I carried with me, the entire show a picture of one of my acting instructors. She was from the old school, so I thought of her as Norma. Also I had a locket from a dear friend of mine who passed away. She was very talented but never made it as far as she wanted to go in her career. In some of my costumes I made them sew in pockets so I would always have these objects.

JL: That is fascinating. Thank you so much.

PL: For you I have time for one more quick question.

JL: Okay. Okay. Every time I see you on stage or film you amaze me. Even in non-musicals. You seem to be an actor first; is this true? I see so many "musical theatre actors" only. You have something more. Do you know what I mean?

PL: Yes. And alii can say is thank God for my training at Julliard. They made me a well rounded entertainer. I don't think many schools do that. How about--(pause)--where do you-

JL: Ohio State.

80 PL: Yes, Ohio State. How are they?

JL: &lWell musical theatre and dance is lax in the theatrical training. The focus is on method and mime."

PL: But you are doing a musical show?

JL: Yes, they allowed it. I don't know how much they like it, but they said yes.

PL: Well good for you. Stick to your guns. I really need to go doll. You have been a doll. Expect some mail from me.

JL: Thank you. You have been very kind.

PL: Who knows maybe we will do a show someday. I will keep you in my rolodex.

JL: Thank you.

PL: Goodbye love. A note to send you off. (she sings) "With one look I you can light a stage". Remember that, it is very important.

JL: Thank you.

PL: Ciao.

81 E-Mail Interview Wednesday, January 22, 1997

Interview: Expert Craig Lucas

Joey Landwehr: Craig, since I wrote my own work for my thesis I have

I decided to interview you. The reason I am interviewing you mostly is because I admire your writing style. You seem to make people understand your point and educate them on a subject or subjects as well as feed them emotionally. Many playwrights preach at the audience instead of fuse the subject through them. Thank you. Now that I have clarified how much I like your work, and let you know I am considering you an expert in the field I would like to ask a few questions. And thank you in advance for doing this.

When you write a play, how do you usually approach it? Do you have the idea of the plot, is it from experience, or do you have a lesson to teach first and foremost?

Craig Lucas: It really depends on the play; it can start from an image or a scene which catapults the central character into a dramatic action, or it can start from something a treasured colleague wants to work on, or from discussions from actors. It never starts from something you want to teach the audience; audiences are very smart, and they can smell out a lecture at ten miles distance and they will run screaming in the opposite direction: I believe they crave experience and not a message per se.

JL: You seem to have the gift of writing complex characters who come to life even while still on the page, How do you go about finding these characters?

CL: Complex characters grow out of contradictions, and one must be comfortable enough with the idea that people want certain things which are

82 in conflict with other things they want; also, a character's dramatic action needs to be viewable from more than one position, l.e., you cannot merely condernn a character or praise them in the moral universe of the play, there must be, at the very least, two emotional and/or intellectual and/or visceral positions from which to view the action. In other words, Richard III is patently evil, but it must be enjoyable-no thrilling-to watch him in action; his evil must release some pleasure in us as audience: we appreciate his unbridled id, his monstrosity; it expresses something all of us would like to do at some point.

JL: It has been said that PRELUDE TO A KISS deals with the subject of AIDS. Is that what you had in mind while writing it? Because it does not deal with it directly, such as ANGELS IN AMERICA or LOVE! VALOUR! COMPASSION! It was closer to Paula Vogel's THE BALTIMORE WALTZ. Even that was more direct. It seems that you challenge people to think more than your writing comrades. Do you think that is true?

CL: I don't think about the audience while I am writing, I think and feel my way through something which confounds and challenges me; I don't mind anyone's interpretation as PRELUDE as an AIDS metaphor, but I do think it limits the play's scope, it's breadth, to say it is primarily about that; it can also be viewed as being about the natural order of things: A marriage, if un hampered by disease, or faithlessness, or cruelty, or fate, can span decades, and in that time the person one married disappears and is replaced by another physical being: does the spirit remain the same or change? It is of course an unanswerable question, but one still worth asking. AIDS is not the only natural force which disfigures youth and beauty and health.

JL: Have you ever written a solo work? How did that differ from your other playwriting?

CL: I have written a couple of monologues which are freestanding: CREDO, PHONE MAN, a couple of unpublished pieces. I don't think it does actually differ from other playwriting; the unseen character is represented by the audience. The speaker is acting upon them.

JL: In your incredible work with Stephen Sondheim and Norman Rene MARRY ME A LITTLE you created a plot around music. Now I know there isn't rnuch dialogue in the show, but how did that corne about? Did it start

83 j with the music or the plot? Because my show SIMPLY DANNY does something similar. I use music to connect monologue together. However I use different artists: Cy Coleman "OUR PRIVATE WORLD", Arlen "OVER THE RAINBOW', and Urhy "SLEEPY MAN", from THE ROBBER BRIDEGROOM and the like, as well as pop songs and original work. Actually MARRY ME A LITTLE was a big influence on my work.

CL: There is no dialogue at all in MARRY ME A LITTLE; it is a bookless musical. The show grew out of Norman Rene's desire to create a late night cabaret for singer/actress Suzanne Henry; I knew Sondheim and asked if we could raid his files, and he gave us permission; we honed it down to seventeen songs built around the notion of two people liVing above and below each other who never meet but in their own imagination (and in the audience's purview). It seems we stole the idea from a play by Alan Ayckbourn which I have never seen or read called HOW THE OTHER HALF LOVES, but I couldn't prove or disprove it. We started rehearsals with a basic shape, and then the director and the two performers co-created the behavior and staging.

JL: I have been told that my work is autobiographical. But I don't like to think of it that way. of course it is close to me because I wrote it; and it does use part of my life. However I would not consider it autobiographical. How do you deal with things like that? Separating yourself from your work. I mean) don't know what is autobiographical with your work. I mean I have never read you writing anything about being found in a car as a baby and like that, but does it become that personal?

CL: All fiction is in some sense autobiographical, because the things that happen in the narrative are a reflection of the writer's imagination, and that grows out of their conscious and unconscious mind or spirit which is of course a melange of their experiences, and hopes, and fears, and ideals, and jUdgments, and dreams, and concerns, everything they've ever read or seen or witnessed. I enjoy reading critical works which connect the inner life of the artist with their creations, but I think it's something artists don't need to think about AT ALL when it comes to creating; when one is creating, one must simply connect to the whole being within and without-be ones own parent, child, critic, living spirited dead, ideal audience, performer, god.

JL: I did a report on you in my contemporary theatre class and I asked the class if they thought you were a "gay playwright". Because we had just read

84 ANGELS IN AMERICA and they consider Tony Kushner a "gay playwrighf'. However when asked about you I was fascinated to hear that they thought of you as a playwright with no prefix of gay attached. And honestly I do as well. But I don't like to say someone is a "gay playwright" or a "black playwrighf' or anything like that. I hope you don't mind louted you in class. they were amazed. It is fascinating I don't think they understand that homosexuals other than Tennessee Williams can write about heterosexuals. How do you see yourself in the scheme of things? Does gay come before your title or after? Especially after your spread this past year in OUT magazine with all of the other playwrights who are gay.

CL: I am a playwright who is gay, male, white, middle-aged, adopted, privileged, agnostic, brown haired, and uncircumcised. All these things are elements of my being; it seems to me that being gay is a tremendously important factor. I am opposed to catalogue or categorizing artists, however, by whichever subsets they belong to. Shakespeare is probably a gay playwright, at the very least a bisexual playwright. That and a buck fifty will get you on the downtown #1 train. I've always been out: I have spoken as a gay man, and a gay artist, and a gay citizen in, the New York Times on the Today Show, in the Advocate. People's perceptions, of course, are shaped more by the fashion-concerns of media works, and over that very few of us have much control. It's like the weather; let it be is my motto when it comes to what people say or think or feel about one as a person and/or artist. They are going to do whatever they are going to do. I treasure being gay; it is probably the most influential factor in my life-I see it as being the center, the heart, of much of my life, along with having been adopted (and abandoned); but it is part and partial of the whole: I am also a socialist with Buddhist leanings, whatever in the world all that means.

JL: Do you ever write for a certain actor?

CL: I have on occasion written for certain actors, and I would do it again if the opportunity was right.

JL: Cast me?

CL: Sure.

JL: Seriously, One last question (for now). When you act, do you have to separate your acting brain from your playwriting brain? This is my first

85 attempt at playwriting so I don't have a playwriting brain developed to shut off. However it was more difficult to do my own piece than if someone else had written it. That fascinated me. I thought it would be much easier. What are your' views on performing one's own work?

CL: I don't act anymore; I found it painful and too stimulating and confusing and not "to the point" in so far as my deepest needs are concerned. I would never write something for myself, and am in awe of people who can do it.

JL: Craig, thank you so much for doing this. I really appreciate it. This is a huge help to me and you are a gem for doing this. I can't wait to see GOD'S HEART at Lincoln Center; I hear it is brilliant. I love Ms. Kavner. Lesbian? Anyway. Enjoy the wonderful run and I hope to hear from you soon.

CL: I am glad these are helpful. Don't hesitate to contact me if you need further clarification, or whatever. Julie Kavner is heterosexual, in so far as I can tell, though she makes a marvelous lesbian. Warmly, Craig.

JL: Thank you. Sincerely, Joey. P.S. All my love to Patrick, you guys owe me a night on the town remember?

CL: Will do.

86 LS

110d 3Hl. Poll Thesis Project 1997 Joey Landwehr Name: (optional) Age: _ Gender: _ SexuaJ Orientation: _

#1 What do the initials HIV stand for? _ #2 What do the initials AIDS stand for? #3 What do the initials PWA stand for?------_ #4 Do you know anyone who is HIV+ or has AIDS? _ If no, do you think you will ever know anyone who is HIV+ or has AIDS? _ #5 Has anyone ever spoken to you, or have you see any instructional media about how one can contract HIV and AIDS?---- #6 Which group has the highest actual number of AIDS cases? (circle one) African-American Heterosexual Women. Caucasian Homosexual Men. Caucasian Heterosexual Men. African-American Heterosexual Men. #7 Do you know anyone gay or lesbian? _ #8 Would you ever tum down seeing a play or movie because you knew it had homosexual content? _

thank you for your time!

88 Poll Results

Joey Landwehr

#1 85% did not know what the initials HIV stand for. #256%) did not know what the initials AIDS stand for. #3 880/0 did not know what the initials PWA stand for. #4 96% think they do not know anyone with HIV or AIDS. #576% have never received any instruction on the disease of AIDS. #6 Which group has the highest number of AIDS cases? 860/0 Caucasian Homosexual Men. 12%) African-American Heterosexual Men. 6% Caucasian Heterosexual Men. 40/0 African-American Heterosexual Women. The correct answer? African-American Heterosexual Women. #7 760/0 think they do not know anyone that is homosexual. #844%) Would not go to a play or movie with homosexual content

89 ------...... -..

AHdV~8011818 McGaw, Charles & Clarke, Larry D. ACTING IS BELIEVING. Holt Rinehart and Winston Inc. 1987.

Whelan, Jeremy. ~. Betterway Books-Cincinnati, Ohio. 1994.

Eisenson, Jon. VVI",C /"\1"4IV VI", I IVI'\!. MacMillan-New York. 1985.

Gottfried, Martin. NQBQQY'S EOOLJI:I.E LIVES OF DANNY KAYE. Simon&Schuster-New York. 1994.

Hodge, Francis. E.L.AY....O.I.B. Prentice Hall-New Jersey. 1988.

Cohen, Robert. ACTING ~SSIONAL.LY.. Bames&Noble. 1983.

Johnstone, Keith. IMPRO. Routledge-New York. 1991.

Adler, Stella. THE,IECHNICUE OF ACI.I..NG. Bantam Books-New York. 1988.

Hagen, Uta. /"\ ",Dl"'\L.LCI'\!UC rvn I DC /"\'" I vn. Scribner-New York. 1991.

Hagen, Uta. BESPECLFOR ACTlt«l. MacMillan-New York. 1973.

Bogosian, Eric. PVUI'\!UII"4IU 1"4Il"'\IL,;;) 11"41 I DC rLVV['\ VVI I n IVI T FOREHEAD. Samuel French-New York. 1994.

Bogosian, Eric. II:l.E ESSENTIAL BOGOSIAN. Theatre Communications Group-New York. 1994.

Bogosian, Eric. SEX, DRUGS, ROCK & ROLL. Samuel French-New York. 1991.

91 Gray, Spalding. "1.-0 DIUJ Up'" I r I I \J I D!;; D\;j!!l;; I." Vintage Books, New York. 1986.

Gray, Spalding. MQNSIERJ.tiA Vintage Books-New York. 1992.

Smith, Anna Deavere. .E1.RES...1H... Anchor Books/Doubleday-New York. 1993.

Melton, David. JUDY; A B.EMEMB.RANCE. Stanyon Books-California. 1972.

Fricke, John. JUDY GARLANI): WORLDS GR.EAIESI ~. Holt- New York. 1992.

Brady, Frank. BARBRA STRElSAND: A~ILLUSTRATEQ BIOGRAPHY. Grosset & Dunlap-New York. 1979.

Considine, Shaun. R!"\DQfV\" I J"\!;;I"MI'UJ. I Dh VyVIVII""', I D!;; MYTHJHE MUSIC. Delacorte Press-New York. 1985.

Ogdan, Dunbar H. At; I UK I KAININl;; ANU AUUIt:Nt;t: c~~ont\J~!=: AN EVA IECJ:J.NI.Q.U.E. Oak House-California. 1984.

Casedy, Marshall. CliARACIERS LN ACTION: A GUIDE TO ELAYWRITING. University Press Of America-Maryland. 1984.

Kerr, Walter. W W T Simon & Schuster-New York. 1955.

Savrin, David. IN THEIR OWN WORDS: CONTEMPORARY AMERICAN ELAYWRlGI::ITS. Theatre Communications Group-New York. 1988.

92 Silver, Fred. nuul I IV",""\:' rvn lOt: IYIUQI\d"\L. I 0[;;/"\ I [\I;, New Market Press-New York. 1985.

Harris, Roy- with Channing, Stockard- Durning, Charles- Garber, Victor- Kahn, Madeline- Harris, Julie- Kinney, Terry- Kurtz, Marcia Jean- Rees, Roger- Leonard, Robert Sean- Merkerson, S. Epatha- Nixon, Cynthia- Rifkin, Ron- Shimono, Sab. ~~ERSATIQNS IN THE WINGS: TALKING ABOUT ACmiG.. Heinneman-New Hampshire. 1994.

Durante, Jimmy. NlGJ:::II..C..l. A. A. Knopf, New York City. 1931

Newton, Chance W. ill~1m!oL~F-L.!...u-....!...!!::lIII.!oI..w., British Book Center, New York City. 1975

Bruscia, Kenneth. DEFINING MUSIC Tt:lERAPY. Spring House Books, Spring City, Pennsylvania. 1989

Capruso, Alexander-Alexis. MUSIC AND YOUR EMOTI.QN.S.. Liverwright, New York City. 1992

Bourman, Ann. TOUGH DECISIONS IN AIDS. Walsh, J. Weston, Portland, Maine. 1990

Corless, Mary & Pittman, Lindeman. 0'''''''-' """Iy" ...... v, PRACIl.C.ES, AN 0 POLITICS. Hempshire Publishing Corp, New York City. 1988

Kassler, Jeanine. GAY MEN'S IiEALTH. Harper & Row, New York City. 1983

Feinberg, David B. , '" Viking, New York City.

BARBRA STREISAND: THE CONCERT. Video HBO 1995.

93 LlZA MIHNELLI AT RADIO CITY MUSIC HALL Video H80 1994.

YGARLANDAN Video Warner/Reprise Video 1991.

SALLY MAYES SINGS DOROTHY ELE.L..DS AriD COMD..Eli.& GREEN. in concert at Eighty-Eights-New York City, New York 1993.

PATTI LuPONE ON BROADWAY. in concert at The Walter Kerr Theatre-New York City, New York 1995.

94 56

E>NISI.L~3AaV Stadium II Theatre February 13 & 15 Drake Union 8:00 pm he Ohio State University Admission is Free

One Part of Three MFA One Acts For information, call (614) 292-5821 OUt£}?,.::Z;:

14 • FEBRUARY 6.19, 1997

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r., • ~~ ·on· · ' thiS' ' <:-' . ';':;-' ,::::-." :.? . . ,' .. ~ ..,', : . ::- ,- ' ,," :

: AaorJoey Landwehr isWdl acquainted with the author of' thelatesCplayhest3J.-S inrhewrote ithimsd£ ,, -,. ,' - ..; After a busy 1996, during which hewasfcltuR:din Two ~ Mm in BuJOn it Co!dWmJD"S Mght/Partyand .r . • • - . ' • 4we!VII1our!CornPassion!- all inwhich heappeared sans ' '' ~' ~ "'. . ; do~ ":"' l.aJXlwdu}l3S bcrome~fmiiliar lace io:~ , -. -, .~ ' _Collinibusthc:alCr aUdiences. He prcsems anew: one-act oded S~9' Damryo~ FebruaIy13~ 15ar8:OOPT ~~ , SiOOilqIl II Theatre 'atDrakeUruon onTheOhio,Scue ' Univeisity campus. , : - , ' ~ ,"'" , ;The p~~Il)S :pan.of anCYmingofonMcis p~' " bY MasterofFiOC Anscuididatesar theUrlNmity. Adrnimon is -frCe. Additional iDfurmatioriisavailable ar292-5821 .Mark paismdJo'· ' .- :; , ..

97 The pieces, arranged and performed by the students, will be separated by 1Q-minute intermissions. ' ; .Koumidou will perform Topos (based 'on . ;Bertoli Brecht's The Jewish Wife) with actor :Kevin Hayes. Cuomo will perform V'l.Sibk saturday, ~ebruary 8, 1997 • * i ~er Five- graduating theater students will per formed in Contemporary American Theatre. form this week .in ' partial fulfillment of the Company's Love! Valour! ,Compassion! and' master of fine arts degree requirements at Reality Theatre's ,Pcirty, has written and will Ohio State University. perform Simply Danny. ' . " . Anastasia Koumidou and Michele Cuomo Reese will perform' Something Fragile will perform at 8 p.m..Wednesday and Friday and, Hannon .will perform Irish Voices (from in .Drake Union's Stadium II Theatre, 1849 the works of George Bernard Shaw, Oscar . Cannon Dr; ,Joey Landwehr, Anne Hannon Wilde, Samuel Beckett and Brian Friel). and Venus Opal Reese, at 8 p.rn. Thursday and Admission is free. 'For more information, Saturday. ' call 292-5821.

98 66

lI\IV'~80~d N011.8naO~d SPECIAL THANKS Committee Members: Phil Thompson, Rex McGraw, and Jeanine Thompson. Classmates: Anne Hannon, Michele Cuomo, Anastasia Koumidou, and Venus Reese.

Michael Bishop, Chad Hudson, Christopher Jackson, Patti LuPone, Craig Lucas, Harvey Fierstein, Terrance McNally, Tony Kushner, The Reality Theatre, Michael Jureneck, Larry Fink, The Ohio State University Theatre Department, and Joy Reilly for her encouragement. ,j

Danny Keel Joey Landwehr Pianist... James Shannon Joey Landwehr (Danny) . Stage Manager Melissa McComas Joey's Ohio State credits are Leslie Bright - The Madness of Lady Bright, Light Design Ryan Bundy Sir Jasper Fidget - The Country Wife, Uncle Jock - Dancing at Lughnasa, Run Crew Michele Cuomo Jim O'Connor - The Glass Menagerie, Robbie Boker - Wrecked Eggs, and Anastasia Koumidou Algernon Moncrief - The Importance of Being Ernest. Video J.B. Lawton You may also have seen all of Joey around Columbus at The Reality Theatre Time: Present as Bryon in Parfy, Act Out Productions as Peter in 2 Boys In ABed On A Place: Atlantic City Lounge Cold Winters Night, and Catco as Buzz Houser in Love! Valour! Compassion!. "Friends" by Mark Klingman &Buzzy Linhart However, his favorite show in Columbus was Jeffrey where he played Darius "I Come To Wiveth Wealthy in Padua" by Cole Porter "The Cots Boy" opposite Lawrence Fink. Joey has done The Wizard of Oz, Jesus Christ Superstar, George M! and South Pacific with Phillis Diller, Eric "Over The Rainbow" by Harold Arlen &E. Y. Harburg Kunze, Joel Grey, and Howard Keel respecitvely. "Indiana In The Rain" by Christopher Jackson "Our Private World" by Cy Coleman, Betty Comden, &Adolph Green Joey would like to dedicate this perlonncnce, as all of his performances, "Meeting Howard" by Christopher Jackson to Lorry Fink, great heart, great soul, great actor, best friend . ~_I" ., Sleepy Man" by Robert Waldman &Alfred Uhry i___ Ii SHdVCl80.LOHd NOI.L8naOCId vOL

SM311\3~ Review:~ by Jerrold Scott, Lecturer Deparbnent of Theatre The Ohio State University

Simply Danny, the one-person thesis show written and performed by Ohio State University Master of Fine Arts candidate Joey Landwehr, is the story of a gay man's coming to terms with his personal and professional ghosts. The show's central character, lounge singer Danny Keel (Landwehr), is an amalgam of the two strongest influences on the performer's career: Howard Keel and Danny Kaye. On stage with a only grand piano, an accompanist, and a stool, Landwehr plays Keel with humor, confidence, and artistic whimsy. Landwehr has a keen sense of comic timing and is comfortable with the improvisational demands that the lounge-act setting requires. He chats with the audience, effortlessly slips in and out of musical numbers, and in between reminisces about his eventful life. Landwehr possesses a pleasant singing voice, and what he lacks in

, sheer vocal power, he more than compensates for with his showmanship and song-selling ability. Among the many numbers performed, only a few • notes get away from him. The mixture of ballads and campy Judy I Garland-esque show tunes support the story's narrative of Keel's i experience doing summer stock musicals as young performer. The play is clearly a paradigm of Landwehr's own life experience. • Keel also serves as a sort of "gay actor Everyman." Familiar, and often I wearied, themes found in most "gay" plays such as the struggle to find true I and lasting love, familial ostracization, and the scourge of AIDS, are given • personal meaning through Keel's audience confessions. The combination ! 105 liliiii16 of hero worship and romantic desire that character Keel feels for the true Howard Keel is a sentiment to which many audience members will relate. Keel speaks to a large degree with the voice of Landwehr's own insight. This gives the audience the permission to laugh at the recognized shared experiences, but also makes them sit up and listen when the character informs us that illness claimed both his lover and his mother, that he's HIV-positive, and that his father has disowned him because he's homosexual. The pain that Keel feels is authentic, and actor/playwright Landwehr never lets us forget that these human tribulations are a pervasive ~ part of the gay world. ! The play's chief weakness is pacing. It suffers in places from a maudlin atmosphere. The audience must be surprised by the play's disclosures for them to have a lasting impact. If the audience senses the device coming, the power of the admission is defused. While in general Landwehr does an excellent job of keeping the witty banter and amusing anecdotes rolling along, landing the dramatic punches with finesse, sometimes the subject material drags down his internal rhythm. This is a problem inherent with being self-directed, and can plague even the most seasoned and talented of actors (in which class Landwehr is certainly a ! • strong candidate). Despite a few kinks, which will most likely be smoothed out as the work-in-progress matures, Simpl.¥-Danny is a delightful journey. Landwehr blends masterfully the loss of youthful wonderment with the challenges of I being gay in the modern world. His work as an actor is surely worthy of the I degree he seeks. I ! 106 ...... LO~

·uouuel./S sawer :lsluedw~'rt ·8J1eaI./111 wnlpe1S S,A11SJaAlUn a1e1S 011./0 al./1 1'rt ·Jl./aMpuel A80r Aq paWJojJad pue ualllJM 'lfUuea AJdw!S SIMPLY DANNY a review Mark Passerello The Outlook Newspaper Theatre Critic Columbus, Ohio

How many MFA thesis projects could stand on there own and survive in the "real" world of commercial theatre? To judge by a recent evening on the Ohio State campus the odds are about one in three. Of the trio of fine ~ and worthy efforts presented that night, only an appealing little confection titled Simply Danny conceived and performed by Joey Landwehr seemed to ~ put aside academic concerns and attempt to engage the audience and not the faculty review board. While his classmates might wish to establish ~ themselves as "actors" with impressive artistic pedigrees, Landwehr first ~ and foremost establishes him self as a gifted performer who knows the way to an audience's heart. Along the way he demonstrates his considerable I acting skill and artistic depth ,and proves that the best way to show them off is not to consciously show them off at all. To borrow Sondheim,"Art isn't I easy" and it's not forced,either. Cleverly concealed behind the neon and glitter facade of a lounge I singer's act, Simply Danny is a series of monologues that illuminate the heart and soul of a character named Danny Keel (and shine some light on their author as well). A stage struck kid with showbiz in his veins,he could I easily be the bastard step-son of Mamma Rose,and first cousin to the characters Judy Garland and Mickey Rooney played ("Lets put on a show in I my parent's bam") I

! 108 --"". Danny's future was determined in boyhood,when he saw a screening of the movie version of Kiss Me Kate. He immediately developed twin fixations for a life on the stage,and the virile star of the film,Howard Keel.. As Danny says" I wanted to act as well as he did,sing as well as he did,wear tights as well as he did!" Danny pays Howard perhaps the ultimate compliment by ~ taking his name. Seeking to cast off the disliked surname of a disliked father,he takes the name of his idol and becomes another Mr. Keel(The name Danny comes from another favorite performer,the actor,singer and Olivier innamorato Danny Kaye.). Later in life Danny actualy meets Howard,and even shares a stage with him,and his delirium can only properly expressed in a delightfully wacky original song,"Meeting Howard". ~ One of the strengths of Simply Danny is how words and music are fused to communicate the thoughts and feelings of the title character. ~ Carefully chosen show tunes alternate with some wonderful original ~ compositions,and in between are great expanses of confessional monologue,each illustrating a defining moment in Danny's life:an J infatuation with life on stage,the joy of a first true love and the pain at that love's loss,as well as good and bad relationships with his parents. A I telling,most chilling example-the beautiful Comden & Green duet 'Our Private World" here sung as a solo ,is so lovingly expressed that ifs almost J as if both lover were there conversing with each other. I The proceedings are sparked by Landwehr's stage presence and command of the material. Both actor and character seem most J comfortable in front of an audience,and both know how to work that audience like a Rubik's cube. The few latecomers who straggled in were I treated to some impromptu chiding that convulsed the more timely I audience members with laughter.Perhaps Landwehr's greatest trick is the ~ 109 --' ~

fine balance between sweet laughter and bitter sadness he can Maintain. This is demonstrated so well in the feelings he manifests for Danny's ~ parents. The warm,tenderness he uses to speak of his departed and much missed mother tums to fierce black detestation,and ultimately cold ~ indifference towards his father. Though hatched in the nest of academia,Simply Danny could easily ~ spread it's wings and soar in a more commercial venue. Noel Coward said he could accept any thing in the theatre, "as long as it moved me or amused I me" In Simply Danny he would have found a show that does both. I I ~ I I I I I I I I t.,.l,l. ~ 110

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Review of Joey Landwehr's Production I Sil11pl~ Dann~ , l by , Michael Mauldin ( Joey Landwehr's production of Simpl~ Dann~ is a pastiche of narrative and song which recounts the life and early career of the fictional gay lounge f singer, Danny Keel. We are informed that the name is constructed from the combination of two of his most influential performers, Danny Kaye and I Howard Keel. The construct is an informative one, both indicating the tastes and interests of the lounge singer Danny, as well as a clue that the evening I itself is a construct of intentionally maudlin pop and showtunes, bathos and I autobiography.

I The evening begins with an entertaining sendup of what a presumably mediocre lounge singer (the audience is never informed of the location of I the performance) might consider to be high art: The performer is I discovered silhouetted in an outrageously high camp pose while being traversed by self-consciously clumsy disco lighting before launching into I the show's opening number, "You gotta have friends." Clearly referencing the opening number used by Bette Midler for one of her early tours, and I cajoling the audience to sing along to the insipid lines of the chorus, I Landwehr jumps headlong into what will prove to be the continued threads of the evening, gay iconography and parodied cliche. While this could be I

I 111 dangerous ground to a less accomplished performer, the actor attacks the parodic form with all the naive and heartfelt sincerity of a performer unaware that he is doing schmaltz. He wisely avoids a self-referential wink l at the audience indicating that he is "playing down," following the example of such master parodists as Christopher Guest in Waiting For Guffman, l Jack Benny in To Be Or Not To Be., and even the object of the lounge I singer's idolatry, Danny Kaye.

l While Mr. Landwehr is clearly too young for the character he has created (it f takes some time and theatrical road experience to become "tired of one-night stands"), there are intriguing bits of character information in the I narrative which juxtapose the promises of a beginning career with the present surroundings we found him in. We know, for example, that Danny f Keel received his equity card at the age of nineteen. Upon meeting Howard f Keel in a summer stock production of Soutb Paci~, the veteran actor praises the young performer's dancing and informs Danny that he reminds I him (the elder Keel) of himself when he was that age. He even goes so far as to tell the young" actor that he is the personification of the son he never I had. This is an extraordinary statement, given the short rehearsal time and I rigorous schedule under which most summer stock productions are limited, and is indicative of an early promise that is belied by his current low status I surroundings. The dichotomy between the past and present Danny Keel is foregrounded by his performance by many of the numbers in the show, I including the screeching "Star Search" rendition of "Over The Rainbow" replete with jazz/gospel riffs and hackneyed dance steps, and the I deliciously clumsy lyrics of the original song "Meeting Howard" recounting I their meeting.

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( There is some evidence of the performer that once was in the simple, , haunting rendition of "Sleepy Man," which allows the actor to momentarily drop the facade of the lounge singer and invest the song with subtext and ( history. In this rare moment, we glimpse evidence of a purity and vulnerability which is otherwise masked throughout most of the evening. f ( The narrative of Danny's professional career is interwoven with that of a gay coming-of -age story, commencing with his attraction to figures such as I Keel and Michael Landon, the loss of his mother at age fifteen, the death of his first love Chad, and the rejection by his father because of his I homosexuality. Once again, the hints to the performer's background are liminal, generally covered only in passing. We are informed that his I childhood environment was a trailer park, that his mother had ambitions for I him to be a "traveling evangelical preacher," that he left his lover out of fear of AIDS, and that his surviving father renounced his kinship to him. Most I intriguing in the narrative, yet only mentioned in brief passing, is the knowledge that Danny has had frequent trips to the hospital and finds I respite from his unnamed illness in the theatre. I Perhaps the most effective moment in the play occurs at the end, when I Danny delivers a paean to the "family" he has discovered in the theatre. While on the surface it seems a restatement of similar tributary passages in I The Royal Family' and I.he..Dres.se.r, its poignancy can be found in the fact that the "theatre" to which Danny refers is actually a lounge, a setting I whose presumably given audience can neither understand nor care about I the sentiments expressed. It is in this moment that the delusion under

I 113 I ( which Danny has lived is given its clearest focus, confusing a lounge act f with theatre and bar patrons as his theatrical "family," and it subtly mediates the paradox of the character and his narrative. { I As a performer, Landwehr's strength is in his charm and timing. He clearly possesses the ability to listen to an audience and modify his performance I according to its reactions. Much of the text seems to have the quality of improvised banter, in keeping with both the character and the setting. While I he will at times veer into the realm of the "cute" in order to gain a laugh or f applause, boundary between the actor and character is so intangible that it is plausible that this is a theatrical ploy of Keel's rather than Landwehr's. I Some of the more sentimental and potentially sympathetic moments of the performance were marred by a heavy-handedness which could stand more I nuance and subtlety than overt demonstration. It was often wished that the I performer would have trusted the material he had written to a greater degree and let the audience discover for itself its moments of empathy. The I play allows great opportunity, principally through its mystery and ambiguity, for an actor to create a complex and haunted character who guards his I secrets closely and masks them with a slick and convivial facade. I There is no question that Landwehr is a better performer than Keel, and the I reaction of the opening night audience was enthusiastic and supportive. With time and further exploration, it can be assumed that Landwehr's I creation of the lonely lounge singer will be a figure that will remain in the I audience's memory for some time. I

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