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But I never imag- ence growing up was dominated by the fact ined anything like producing Broadway mu- that I was a boy chorister since I was eight, sicals. My exposure to musicals all had cars From Detroit Chorister to Broadway Producer and sang in the Christ Church Grosse Pointe in them, because that was part of any show Choir right through high school to the time you’d do in Detroit. hat gets Michael David excited after ‘The Green Hornet,’ I left for college. We rehearsed four times RE: I’m sure folks’ll be glad to hear that the Wmore than four decades as a theater and that was replaced a week, couldn’t play Little League; a seri- auto industry is represented in Jersey Boys, professional? The art of making art, the chal- pretty quickly by hock- ous commitment that. And we sang. A lot. too. One of my favorites moments in the lenge of getting it right, of connecting with ey. I was a huge Red I think that my affection for what I do for a show has to do with three Cadillacs and the audiences, and, as lead producer of Jersey Wing fan, and when I living absolutely grew from my experience girl group, The Angels. Boys, employing a thousand people around was little, I wasn’t al- in the Episcopal Church since I was a child. MD: Absolutely. the world with “a sense of appreciation for lowed to listen too late, RE: In what way? this rare thing in their lives.” so I’d have the dial set RE: How has the road changed since you David sat down with Jersey Boys co-writ- with masking tape so MD: The theatricality, the pageantry, the started producing? drama of the language, the music—the mu- er, Rick Elice, as one of two national tour- in the dark I could still MD: Years ago, it was a very different busi- ing companies of the hit show about Frankie find the station. And I Michael David sic, more than anything else. It moves me. It’s catharsis for me. ness, and the shows were presented in a very Valli and The Four Seasons prepares to blow listened to doo-wop a different, much simpler way. The quality of into town—and blow the roof off the Fisher lot, and then early rock. “Long, tall, lean and RE: Did you go to the theater when you were everything is so much better because the au- Theatre December 12 through January 6. lanky Larry Dean, the skinniest man you a kid? dience expects and deserves the best we can Michael David: I grew up on Grayton Road ever seen.” For Detroit rock’n’roll in the six- MD: As boy choristers, we were taken to the do. When people come to the Fisher to see in Grosse Pointe Park, and was there until ties, Larry Dean and Bill Williams were the symphony now and then. But my exposure to Jersey Boys, they will have the full Broad- I went away to school and got married. My source of all things cool. theater began with playing the lead in Davy way experience. Same number of actors, brother did the same. My sisters, after be- RE: You have any memories of The Four Crockett— same number of musicians, and the latest ing overseas, have returned now to my old Seasons from that time? RE: “King of the Wild Frontier!” technology—all of which enables us to re- stamping grounds, and yes, it’s remained ally deliver—by any Broadway standard. pretty much the way it was. A series of five MD: Like a lot of people, I remember the MD: No, this was before Fess Parker and songs. But most of them, I had no idea they Disney. I was just a kid. RE: Well, thanks for having the courage and little villages along Lake St. Clair, quaint class to do that. and lovely, two high schools, a bastion of were by The Four Seasons. The style of the RE: And later, when you were a little older, Americana, I guess. That’s my hometown. songs kept changing, the instruments they like in high school? MD: How could we not? Especially when used on the records, the arrangements of the Frankie Valli and the guys have the courage Rick Elice: And did you listen to the radio a music. Eventually I was old enough to buy MD: I saw Guys and Dolls in Traverse City; to say “Okay, put our story up there onstage, lot when you were growing up? the 45s, and that’s when I saw the labels: that was pretty much it. But when I was in warts and all.” MD: All the time. Started out as a boy with The Four Seasons, then Frankie Valli and high school, my uncle knew a wonderful and colorful guy named Max Silk, who ran the RE: I would never put my story on the stage. Bagley Bar in downtown Detroit, which was MD: Neither would anyone else. It’s not that Jersey Boys Finale next to Local 38 of the Stagehands Union. interesting. (l to r) Preston Truman When I was fifteen, they managed to get me RE: That’s true. Happily. So… you, me and Boyd, Joseph Leo Bwarie, an apprenticeship with the Local. I showed Marshall (Brickman, co-writer of Jersey John Gardiner, Michael up for work and suddenly I was Florence Boys and Oscar-winning screenwriter of Lomenda and the Henderson’s dresser on The Oldsmobile Annie Hall)—dinner after the show at An- Company of Jersey Boys. Show’s version of Wonderful Town. And gelina’s? Photo: Joan Marcus then some other job on some other show, and some other show, often times at the Fisher. MD: On Broadway Street. So my summers were spent mostly ogling RE: I think Frankie booked these gorgeous girls backstage and doing the the table. We’ll raise a glass stuff that the adult stagehands didn’t want of Chianti in honor of your to do. And it was great. I even had a little coming home to Detroit. Or money in my pocket that didn’t jingle when as they say in Jersey… I walked. MD: Salud! RE: And here we are, getting ready for a run RE: Fuggedaboudit. Rick Elice at the Fisher Theatre all these years later. MD: It’s Detroit’s great theater. Transformed from one of those magnificent old movie pal- Jersey Boys plays at the Fisher Theatre Dec. 12–Jan. 6. aces into a place for live shows. Tickets are on sale now at the Fisher Theatre box office, ticketmaster.com and 800-982-2787. Groups of twelve or RE: What else from your stagehand youth? more e-mail [email protected] (subject MD: I did a little Gaiety Burlesque; that was line Jersey Boys) or call (313) 871-1132. 4 5 UNIVERSAL PICTURES STAGE PRODUCTIONS, WORKING TITLE FILMS, OLD VIC PRODUCTIONS, & NETWORKS PRESENTATIONS Working our way present Based on the Universal Pictures/Studio Canal Film JANET DICKINSON PATTI PERKINS BACK TO YOU! RICH HEBERT CULLEN R. TITMAS Returning to Detroit for four weeks. Introducing BEN COOK KYLEND HETHERINGTON ZACH MANSKE NOAH PARETS with Joel Blum • ethan maJor • Sam Poon • Samantha Blaire Cutler Kat henneSSey • JoB ChriStenSon • PatriCK Wetzel • Craig Bennett Cal alexander • madiSon BarneS • miChael Biren • damien Brett • SaSha ely-JudKinS • tim Funnell • riChard gatta regan maSon haley • ChriStoPher m. hoWard • Bryan thomaS hunt • Cara KJellman • maria KnaSel • Patrick lavallee Kent m. leWiS • david light • reBecca marloWe • morgan martin • Joel newsome • yanna niKitaS • adam Pelty JeFFrey PeW • Jillian reeS-BroWn • aliSon Solomon • Brionna trilling • genai veal • lexi vierneS thad turner WilSon • natalie WiSdom • danielle viCtoria znutaS General Management Tour Marketing and Publicity Exclusive Tour Direction GREGORY VANDER PLOEG DAWN KUSINSKI ALLIED LIVE THE ROAD COMPANY GENTRY & ASSOCIATES Technical Supervision Production Stage Manager Company Manager HECTOR GUIVAS & JASON JUENKER JOEL ROSEN WILLIAM FERRY Supervising Resident Director Associate Choreographer Resident Choreographer Adult Casting Director Children’s Casting Director STEVEN MINNING ALISON LEVENBERG ADAM PELTY TARA RUBIN CASTING NORA BRENNAN Creative/Design Supervisor Hair, Wig and Make-Up Designer Costume Coordinator EDWARD PIERCE BERNIE ARDIA JIMM HALLIDAY Associate Costume Designer - US Associate Costume Designer - UK Associate Lighting Designers Associate