Forbidden Broadway: Behind the Mylar Curtain (123 page)

As hard work as Forbidden Broadway has always been, there's an aspect of it that
makes you feel like you're living in an old MGM musical. Everything's in Technicolor,
the world sings, and we laugh and laugh as we put the show together. Just like in those
classic musicals, there's enough drama to keep the story going-but nothing too
serious. In the end, it all comes together and everyone is cheering. The music soars
and a mixed chorus sings "oohs" and "aahs," albeit a chorus of only four overworked
actors.

In 2009, Forbidden Broadway concluded its run at the 47th Street Theatre-but,
of course, there is always the possibility of a continuation. In fact, I've already been
considering titles for the next edition. How about: Forbidden Broadway: Grand Theft
Show Tune?

Gina Kreiezmar, Christina Bianco, and Jared Bradshaw as the "chatterati" of All That Chat.

In the meantime, we had other worlds to
conquer. In the spring of 2009, we had several upscale productions on the West Coast,
including a run at The Opera House At Santa
Barbara-a long way from Palsson's Supper
Club. And in July 2009, Forbidden Broadway
returned to London for the third time. This
time it was presented at The Menier Chocolate Factory, a small but prestigious hot spot
for exciting new productions. Created and run
by the ingenious young producer David Babani, their productions include recent awardwinning revivals of Sunday in the Park with
George, La Cage aux Folles, and A Little Night
Music.

David's commitment to produce this new
version seemed divinely appropriate, since
Forbidden was one of the first shows he produced in London when he was only nineteen!
At the time, it was his first transfer to the West
End, when the show moved to The Albery
Theatre from the Jermyn Street Theatre. By
2009, David's reputation and expertise had
developed impressively. Phill George again
directed, while I was kept busy writing eight
new numbers especially for the London engagement, which included spoofs of David's aforementioned revivals. I didn't go easy
on them, despite the conflict of interest, but David has a marvelous sense of humor
and laughed as loud as anybody.

I also included an Oliver! parody that I had written in 1984 when that show was
revived on Broadway with Patti LuPone and Ron Moody. The revival closed before I
could try the number in Forbidden Broadway, but I kept it safely tucked in the drawer
for over twenty-five years. Since another revival of Oliver! was playing in London at the
same time as our new production of Forbidden Broadway, it fit right in the routine. It
brought the house down and proved that my instincts to never throw anything away
were correct.

People often ask me if I have written other shows besides Forbidden Broadway. The
answer is yes, of course! I have a whole trunk full of unproduced musicals for which
I have written the lyrics, the books, and sometimes the music. I think the main reason why they have never been done is that FB has been such an overpowering force in my career. Usually, producers want to do Forbidden Broadway before they'll
even look at anything else
I've written-because the
title is so recognizable, and
also because it's a small
show with big entertainment value. As Christine
Pedi often says, "Forbidden
Broadway is a lot of bang for
your buck."

Gerard Alessandrini in 2008.

But I still continue to
work on "real" musicals. I
think I've learned a lot from
observing, studying, and
parodying so many Broadway shows, and I hope to
utilize that expertise and
someday be part of the
creative team of a musical
play.

As for the future of
Broadway, that's impossible to predict, because it
all goes in cycles and everything changes so fast. There
are so many trends, and what may be true for three years straight may not be true
for the next three years. Broadway is completely subject to the whims of public taste;
I've seen many flop shows that I thought might have been hits a season or two earlier,
and vice versa. The theatre has been christened "The Fabulous Invalid," and so it is. It
often seems on the verge of death, but then it rises from the ashes in full glory. And,
I suspect, so will Forbidden Broadway.

Stephen Sondheim, who had been to see our show many times, was kind enough to
attend Forbidden Broadway Goes to Rehab right after we announced that it would be
our last edition for a while. He greeted me by looking straight into my eyes and asking,
"Are you sorry/grateful?" I suppose I should have laughed at his wit and insight, but
I could only think to respond with a truthful answer: "I'm grateful."

"All That Chat"

BEBE NEUWIRTH

Hello, suckers. Did you pay good money to see a
Broadway show, when you could've just stayed home
and read what's online? Well, this isn't 1996 anymore.
It's 2008. Get with it!

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begin typing on laptop computers.]

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