Resurrecting the stage: how 'Witness Uganda' could launch the new Golden Age of Broadway from right here in Los Angeles

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Content     RESURRECTING THE STAGE: HOW WITNESS UGANDA COULD LAUNCH THE NEW GOLDEN AGE OF BROADWAY FROM RIGHT HERE IN LOS ANGELES by Erica Ellen Phillips A Thesis Presented to the FACULTY OF THE USC GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS (SPECIALIZED JOURNALISM—THE ARTS) August 2010 Copyright 2010 Erica Ellen Phillips       ii  Acknowledgements I am grateful to professors Josh Kun and David Roman and visiting lecturer Anastasia Glasheen for taking the time to talk through my jumble of ideas and set me on the right track in my research. I was also incredibly fortunate to come in contact with Robert Klein, executive director of the Los Angeles Festival of New American Musicals. He put me in touch with an incredible range of people, and introduced me to the ASCAP / Disney Musical Theater Workshop where I met Griffin Matthews and Matt Gould and heard their wonderful work for the first time. My life was definitely changed that night, and I have Bob to thank for that. I also am grateful to Michael Kerker, the director of the workshop, and Philip Himburg, director of the Sundance Theater Lab—both were incredible sources in my quest for information about the history of the Broadway musical.       iii  Table of Contents Acknowledgements ii Abstract iv Introduction 1 Renegade Volunteers 2 Theater On Purpose 4 The Garden of Angeles 6 An Evolution in Form 9 The Age of BYO Audience 13 The Ultimate Transmedia Campaign 16 Bibliography 19       iv  Abstract In February of 2010, Griffin Matthews and Matt Gould presented their original musical, Witness Uganda, at the American Society of Composers and Publishers (ASCAP) / Disney Musical Theater Workshop at the Disney Studios in Burbank, California. Although the musical was still only half-complete, the panel—consisting of Paris Barclay, Paul Lazarus, and Stephen Schwartz—responded positively, and Pasadena’s Boston Court Theater invited Gould and Matthews to develop their musical over the summer and present the premiere at Boston Court the following fall. Matthews and Gould originally developed the musical score for a fundraiser event benefitting Matthews’s not-for-profit organization, Be The Change (Uganda). After the incredible audience response at their first presentation in New York, however, the two decided to turn the songs into a full-length musical theater production. Now, they are working on an internet-based campaign—inspired by and modeled after president Barack Obama’s efforts—which they hope will get them to Broadway. In a world where their peers are connected through global social networks, and spend hours each day in front of their computers, Witness Uganda is working to rewrite the musical theater success story—starting in Los Angeles. 1       Introduction Standing at a grand piano with one hand on the keys and the other punching the air on every downbeat, Matt Gould calls to his ensemble in a voice that is guttural and hoarse, but mesmerizing. Across the piano’s expanse, they sing back—Gould calls, they respond; he gesticulates, they bounce and sway. Their stomping feet thud against the tiny platform stage, which creaks and threatens collapse. The guy playing hand drums is all a blur, the electric guitar wails, and the audience looks like it might just collectively explode. All the while, Griffin Matthews sits calmly in the front row, keeping the beat in his head and his tapping feet, half-smiling with a look that seems entirely aware that this musical tale—his personal story of trial and tribulation—may have possessed every soul in the room. 2       Renegade Volunteers Five years ago, Matthews made his first trip to Uganda. As the audience learns from recorded audio interviews played during scene changes in the musical, the decision to go was last minute. There wasn’t enough money at first, but his friends pitched in and somehow, in a surprisingly sudden turn of events, Matthews ended up with his parents at the airport, crying as he said his good-byes. At the time, Matthews had recently graduated with an acting degree from Carnegie Mellon University in Pittsburgh, and along with five close friends was looking for a way he could make a difference. The group contacted a large umbrella organization called Global Volunteer Network, which placed them at a local orphanage in rural Uganda. There they would be working with children who had lost their parents in the AIDS epidemic; the project was to last about six weeks. 1 “All was good and cozy for about three weeks and then we were like, ‘Something’s not right here, something’s going on,’” Matthews recalls. The children in the orphanage were very young and seemed to be benefitting from the presence of the volunteers, but the older teenagers stayed as far away from the Americans as they could. Matthews and his friends, curious about why the older children weren’t taking advantage of the services provided at the orphanage, sought them out and invited them to take part. They refused. But Matthews wouldn’t let it go.                                                                 1 Matthews, Griffin. Interview. Erica Phillips. 6 March 2010. 3       To earn the teens’ trust, Matthews and his friends left the orphanage, moved in with local families, and started a renegade educational program aimed specifically at this small group of disenfranchised kids. They held school each day and researched formal high school education and college programs for their students. When the time came to return home, Matthews promised he would raise money to send all the students to school, and that he would visit again. Incredibly, he remained true to his word. The volunteers arrived home in the United States with a mission. They soon founded Be The Change (Uganda)—named for the familiar Mahatma Gandhi quote, “Be the change you wish to see in the world”—and successfully raised money to send the first class of students to formal secondary schools. The energetic group of young New York artists also coordinated tutors and transportation for their friends in Uganda, stayed in touch, and made several trips back. They solicited donations relentlessly from everyone they knew and every new person they met, and became increasingly creative in planning benefit events. Witness Uganda, the nonfiction musical that tells the story of Be The Change (Uganda), emerged from one of these fundraising efforts. 2                                                                 2 Matthews. 4       Theater on Purpose Matthews met Gould in through artist friends in New York, and they shared a bond quickly. Gould, a composer / lyricist, director and actor, had spent two years in the Islamic Republic of Mauritania, in Africa, as a Peace Corps volunteer. “Our relationship sort of grew around theater and Africa,” Gould explains. 3 At the time, Gould was working on another musical, Twilight in Manchego, which was based on themes that drew from his experience in Africa. He asked Matthews to perform in a benefit presentation of Twilight, and the two were soon talking about creating something together. Matthews mentioned to Gould that he was having trouble raising funds for the students in Uganda, and Gould knew just how to help. “’Why don’t we do a night and I’ll write a bunch of songs and we can have the proceeds be for Be The Change?’” he recalls asking. 4 Matthews insisted on collaborating and the duo began writing. Neither anticipated the wild reception they would receive. The audience was so moved, Be The Change was able to sell out an encore performance the following night. “We saw how not only the audience, but the actors responded—they were hungry to be part of work that was meaningful and well-written, and that was … about something that we need to become engaged in,” Gould notes. That second show happened “as a result of an outcry, a need for theater.” 5                                                                 3 Gould, Matthew. Interview. Erica Phillips. 6 March 2010. 4 Gould. 5 Gould. 5       Just a few months later, Witness Uganda was selected by Stephen Schwartz (Godspell, Pippin, Wicked) to be presented at the annual American Society of Composers, Authors and Publishers musical theater workshop in Burbank. And they hadn’t even written the second act yet. But it didn’t matter. The audience in that multi-purpose, fluorescent-lit conference room on the Disney Studio lot on a damp evening in February was captivated. Young, hip, and rapt, squeezed into every seat, lining the walls and crammed into the corners, with tears on their cheeks and smiles on their lips, these spectators weren’t the usual Broadway core. Matthews and Gould had drawn an important crowd—the elusive iPod generation, those young adults in their 20s, linked through social networks, glued to their phones all day, experts at multi-tasking. Here they were, faces reflecting the light from the stage, witnessing this performance. Live. “Do not stop writing this musical,” Emmy winning television director and producer, Paris Barclay, ordered. 6 Seated next to writer / director Paul Lazarus and composer / lyricist Stephen Schwartz—the commentating panel that evening—Barclay offered this advice and the audience burst into applause.                                                                 6 Barclay, Paris, Paul Lazarus, and Stephen Schwartz. ASCAP Foundation / Disney Musical Theater Workshop (panel discussion). Burbank, CA. 17 February 2010. 6       The Garden of Angeles Matthews and Gould certainly won’t stop. Since its first presentation, the creators have realized that this piece is transformative, and they are intent on taking it to the Broadway stage. The journey begins here, in a sunny studio apartment in L.A.’s Koreatown. Matthews is so excited, he has stood up from the couch and is pacing, gesturing with his lanky arms, impassioned. Gould sits on a kitchen chair with one leg curled underneath him, nodding emphatically. They are talking about creating a movement. “Oh god, I’m about to get religious …” Matthews pauses. Gould nods. “But, you know, there’s a Bible story about the woman giving her penny because that was all she had. It’s the same as someone giving their millions. It all counts and it all matters so that we get to be —“ 7 “On Broadway.” Gould completes the thought. 8 Matthews smiles. “No, but that we get to sort of be a community. I think we’re trying to create a community and dialogue through this piece.” 9 A community, Gould points out, not unlike those that surrounded and supported the Broadway premieres of Hair and Rent. Each of these pieces was rare among contemporary work, in its ability to                                                                 7 Matthews. 8 Gould. 9 Matthews. 7       address serious issues that impacted a younger generation. Their premieres on Broadway were historic. 10 Likewise, Witness Uganda is a musical about one of the major cultural shifts of Matthews and Gould’s generation—the shift toward global identity. Matthews points out, “You meet more people [our age] who have traveled, have worked, have had that experience … they did summer missionary trips to Nicaragua or Mexico City, and my parents never did anything like that.” 11 One of the themes of Witness Uganda is the issue of cultural relativism—what is right and what is wrong when you are an outsider in another country. And it is an issue that many young adults, having come of age in the global digital age, have now encountered. For Gould, who had only recently arrived in Mauritania when two planes crashed into the Word Trade Towers back home in New York City, cultural relativism had powerful implications. “It informed everything we did for the rest of our time there because it was like, is it our place to go in and tell women that they should be allowed to play soccer in an Islamic republic where they keep themselves covered up? … You have to ask yourself, is this right?” That, he says, is what the show is about. 12 “It’s the same thing that we’re all wrestling with in the Iraq war,” Matthews adds. 13                                                                 10 Gould. 11 Matthews. 12 Gould. 13 Matthews. 8       Gould affirms, “I think the reason we’re at war, in the middle of these conflicts right now, is because somebody thought, ‘Let’s have a soccer game in Iraq!’” He sighs. “The first question always needs to be, what do you need? What can I do? Before ‘You need to do this.’” 14                                                                 14 Gould. 9       An Evolution in Form “I always feel very opposed to the general sense of musical theatre as this bright sunshiny place where everything is happy and beautiful,” contemporary composer and lyricist Jason Robert Brown says, over a shrimp cocktail at the Music Center’s bistro restaurant. “I live in a very small suburb of the theater that considers it a legitimate place to deal with real issues.” 15 Brown, a highly regarded name among contemporary musical theater composers, has faced mixed success despite the theater world’s general recognition of his talent. His last two major works staged in New York, The Last Five Years (off-Broadway) and 13 (at the Bernard Jacobs Theatre on Broadway) lasted only a few short months. Naturally, Brown is frustrated with what he sees as the commercialization of musical theater’s ultimate stage. “[Broadway] is a crucible you sort of have to go through in order to get your show to be branded as legitimate, quote-unquote.” Unfortunately, he adds, “I don’t think that has anything to do with quality.” 16 Witness Uganda will be facing the uphill battle that Brown has climbed over the course of his career. Broadway’s growing economic concerns has only aggravated the problem. A younger composer, John LaChiusa (See What I Wanna See), expressed similar frustration in a recent talk as UCLA. “Broadway is a piece of real estate,” he said, pointing out that commercial theaters are none too keen on investing in “experimental”                                                                 15 Brown, Jason Robert. Interview. Erica Phillips. 23 February 2010. 16 Brown. 10       theater. 17 Because a Broadway production is such a large financial investment, the producers are often forced to continue staging the shows they know will bring in an audience. This “blanket audience,” as Brown calls it, is specific in its tastes, and has been since the 1940s—the celebrated “golden age” of musical theater. 18 “All across America, post-war intelligent people became patrons of the theater,” explains Philip Himburg, director of the Sundance Theater Lab, where new plays and musicals are workshopped for Broadway (e.g., Spring Awakening, Passing Strange, The Light in the Piazza). “Now, when I direct a play in the regional theater, the audience is still my parents’ generation. It’s grown up with the theater and it hasn’t replaced itself— this is true even in New York.” 19 In The Rise and Fall of the Broadway Musical, author Mark N. Grant attributes “the fall” largely to a change in musical sensibility. “Almost all commentators seem to agree,” he writes, “that the music of the golden period somehow has a heart, a conviction, a soul, a rootedness, that post-1966 theater music—the rock stuff; the traditional, nonrock stuff by Cy Coleman [Sweet Charity], Charles Strouse [Bye Bye Birdie], and John Kander [Cabaret, Chicago]; and even the later works by golden-age writers such as Rodgers [South Pacific, The Sound of Music], Burton Lane [Finian’s Rainbow], and Lerner [Brigadoon, My Fair Lady]—does not. Popular art before 1960 had the moral intensity of high art.” 20                                                                 17 Bird, Hunter. Interview. Erica Phillips. 3 March 2010. 18 Brown. 19 Himburg, Philip. Interview. Erica Phillips. 14 January 2010. 20 Grant, Mark N. The Rise and Fall of the Broadway Musical. Boston: Northeastern University Press, 2004. 11       This understanding—that rock music had somehow marred the ability of musical theater to captivate an audience—has driven Broadway’s production choices since the 1960s. With producers afraid to take a chance on rock musicals, this sort of experimentation waned, and there truly was a “fall” in development of innovative new rock musical theater. As a result, the “jukebox musical,” theater stories set to already-existing popular music, has become the fiscally wary producer’s only guarantee of audience turnout. Aside from putting on a revival of a golden age show, jukebox musicals are the only other shows with an automatic “blanket audience”—namely, the fans of the band. 21 “When I saw Mamma Mia, my heart broke,” Himburg sighs. “The audience was on its feet, happy as clams, all my generation and younger, and I thought if that’s all people want, that’s sad.” 22 Brown echoes the sentiment with a shrug, “There’s supposed to be some sort of evolution in the art form somewhere down the line.” 23 Over the decades since “the fall,” one composer stands out as carrying on the tradition of experimental musical theater and taking it to the masses. Stephen Sondheim, who recently turned 80 years old, managed to earn the confidence of the Broadway audiences, but the fact that his name rises so singularly as a representation of his generation is telling. As a direct heir to the tradition of Oscar Hammerstein (who tutored                                                                 21 Himburg. 22 Himburg. 23 Brown. 12       him from a very early age), Sondheim is the exception that proves the rule. 24 The “blanket audience” was willing to give this one a chance, while Brown—who was most prominently influenced by Sondheim—can’t seem to break onto the scene. Matthews and Gould, it would seem, have their work cut out for them.                                                                 24 McLaughlin, Robert. Stephen Sondheim at 80: An Appreciation of Broadway's Greatest Composer (lecture). Community Players Theatre, Bloomington, IL. 21 March 2010. 13       The Age of BYO Audience Gould has a quick response. “People want to have their lives turned upside down!” he exclaims. “They’ve replaced this cathartic experience in the theater with entertainment … Well, I’m not interested, and I would wager that most people actually don’t give a shit about that.” He may be right. 25 One award-winning Broadway production this year has opened a door for Gould and Matthews. In April 2009, Next to Normal, a rock musical about a family facing their mother’s crippling bipolar disorder, opened on Broadway after several years in development around New York City and off-Broadway. The show, which presents “real issues,” has achieved great commercial success, setting a box office record at the Booth Theater in January of this year. 26 Next to Normal had that elusive thing called “buzz,” and it came from several sources. 27 In some sense, it drew a “hometown crowd,” having undergone most of its development in New York City. But the musical also did something that every show following its success is going to mimic. This 2010 Pulitzer Prize winning show self- promoted on Twitter. Beginning just a month after it opened, Next to Normal started sending 140-character plot summaries out into the world, and people responded. 28                                                                 25 Gould. 26 “NEXT TO NORMAL Breaks Box Office Record at the Booth Theatre.” 4 January 2010. BroadwayWorld.com. 18 April 2010 <http://www.broadwayworld.com/article/NEXT_TO_NORMAL_Breaks_Box_Office_Record_at_the_Booth_Theatre_ 20100104>. 27 Himburg. 28 Newman, Andrew Adam. “It’s Broadway Gone Viral, With a Musical Meted Out via Twitter.” 16 August 2009. New York Times. 18 April 2010 <http://www.nytimes.com/2009/08/17/technology/internet/17normal.html>. 14       Another current buzz-worthy show, Fela!, combined this method with celebrity endorsements. Based on the story of Afrobeat musician Fela Anikulapo-Kuti and choreographed by Broadway veteran Bill T. Jones, the show’s innovative concept convinced Will Smith and Jay-Z to sign on as show producers just a week before it opened. The internet community that has grown around Fela! has imbued new meaning into the show, reaching an audience that hasn’t crossed the thresholds of Broadway theaters in generations. 29 Just last week, music producer and drummer for The Roots, Questlove, announced to his more than 1.3 million Twitter followers that he’d just seen Fela! for the twentieth time. Musical theater composers can also set themselves apart by cultivating a fan base around the music before the show is produced on stage. Functioning almost like a jukebox musical, Duncan Sheik has employed this method successfully in his work. His first musical, Spring Awakening, was a hit on Broadway. 30 He made the musical tracks for his second show, Whisper House, available a full year before the show opened and earned himself a contract as writer for the forthcoming American Psycho musical. 31 Sheik, who established himself as a popular musician in the 1990s, used his existing fan base and the music itself to sell the show before it even opened. Other popular musicians have written original music for stage shows and a current collection of musicals in development are following the trend. Regina Spektor is                                                                 29 Himburg. 30 Himburg. 31 Lee, Lindsey. “Duncan Sheik Composing Music for American Psycho Musical.” 4 February 2010. Paste Magazine.com. 18 April 2010 <http://www.pastemagazine.com/articles/2010/02/duncan-sheik-to-compose-for- american-psycho-musica.html>. 15       developing a musical adaptation of Sleeping Beauty, Bono and The Edge are writing music for a Spiderman musical, and Lila Downs composed songs for the forthcoming musical of Like Water for Chocolate. 32 The struggle to convince fans to turn off their computers, get in their cars, and drive to the city to wait in line for an hour and spend a day’s pay on a ticket requires a new kind of communication plan. A familiarity with the show’s music or musical style is what draws these audiences. The icing on the cake is Glee, a wildly popular prime time musical revue show featuring Broadway stage talents Lea Michele (Sheik’s Spring Awakening, Les Miserables) and Matthew Morrison (Hairspray, The Light in The Piazza). Despite the fact that it is not original musical theater—in the sense that the music is not original, it does not always advance the story line, and the characters tend not to spontaneously break into song—Glee has created a strong new link between contemporary Broadway and popular culture. 33                                                                 32 Himburg. 33 Bird. 16       The Ultimate Transmedia Campaign Matthews and Gould will certainly employ each of these techniques—using several media platforms to reach their audiences, get stars on board, and provide a preview of the music and the story to their fans, all while taking advantage of the shift in popular taste toward the Glee-inspired musical theater stage. As they lay out their plans, they explain the source of inspiration for this ambitious campaign. In November of 2008, Gould and Matthews each encountered the inspiration they needed to build a movement of their own, and the momentum of Obama’s election continues to propel their efforts. To observers, senator Obama achieved what no presidential candidate had managed since before Gould and Matthews were born—he built a grassroots movement in which every person felt the value of their dollar and their vote. “It was probably the most emotional inaugural ceremony that I’ve ever seen because people felt like we had done it,” Matthews recalls. 34 “That was sort of his thing,” Matthews continues. “He exposed the process. We all got to be part of the process, which is why we’re shooting a music video, which is why I want to go back to Uganda, which is why we’re building a team of support here with filmmakers and producers and schools.” 35 The idea is to make fans and supporters of Witness Uganda feel a similar sense of accomplishment, and know that the musical is just as much their story as it is Matthews’s. For the two artists, opening night of the show’s Broadway premiere could be                                                                 34 Matthews. 35 Matthews. 17       as emotional and important as if it were their own inauguration of sorts. With a strong enough community in Los Angeles, Witness Uganda can grow their fan base and sell the show. “Then if it goes to New York, people in LA are like, ‘Yeah, we knew about that piece two years ago, it’s been thriving in LA for two years—New York, catch up!’” 36 says Matthews. After the ASCAP workshop, Gould and Matthews were approached by Pasadena’s Boston Court Theater and invited to develop the show this summer for a premiere presentation in fall 2010. After agreeing to the offer, they got on the phone to all of their celebrity friends and started planning a party. The benefit show, by invitation only, will be hosted by Mad Men actress Abigail Spencer, who made sure the invite included a list of other stars in attendance (Emily Deschanel, Josh Radnor, Nathan Fillion, and so on). Be The Change is updating their website, regularly writing a blog (no Twitter quite yet), and promises to release a “spreadable” video preview with some of the show’s music and dance sequences sometime this spring. All the while, Matthews and Gould intend for Witness Uganda to continue serving as a vehicle to increase awareness of the AIDS crisis in Africa, and they plan for a percentage of all show proceeds to go directly to the students. 37 One of the show-stopping numbers in Witness Uganda’s first act is entitled “Resurrect People,” and the broader meaning did not appear lost on a single person in the room that night. This is a piece about bringing people up and out through music and through the telling of their stories. It’s about the American experience in a new kind of                                                                 36 Matthews. 37 Matthews. 18       social world, with a whole new set of problems. Witness Uganda uses an American art form to tell an international story—and it might just breathe life into the Broadway stage once again. 19       Bibliography Barclay, Paris, Paul Lazarus, and Stephen Schwartz. ASCAP Foundation / Disney Musical Theater Workshop (panel discussion). Walt Disney Studios, Burbank, CA. 17 February 2010. Bird, Hunter. Interview. Erica Phillips. 3 March 2010. Brown, Jason Robert. Interview. Erica Phillips. 23 February 2010. Gould, Matthew. Interview. Erica Phillips. 6 March 2010. Grant, Mark N. The Rise and Fall of the Broadway Musical. Boston: Northeastern University Press, 2004. Himburg, Philip. Interview. Erica Phillips. 14 January 2010. Lee, Lindsey. “Duncan Sheik Composing Music for American Psycho Musical.” 4 February 2010. Paste Magazine.com. 18 April 2010 <http://www.pastemagazine.com/articles/2010/02/duncan-sheik-to-compose-for- american-psycho-musica.html>. Matthews, Griffin. Interview. Erica Phillips. 6 March 2010. McLaughlin, Robert. Stephen Sondheim at 80: An Appreciation of Broadway's Greatest Composer (lecture). Community Players Theatre, Bloomington, IL. 21 March 2010. Newman, Andrew Adam. “It’s Broadway Gone Viral, With a Musical Meted Out via Twitter.” 16 August 2009. New York Times. 18 April 2010 <http://www.nytimes.com/2009/08/17/technology/internet/17normal.html>. “NEXT TO NORMAL Breaks Box Office Record at the Booth Theatre.” 4 January 2010. BroadwayWorld.com. 18 April 2010 <http://www.broadwayworld.com/article/NEXT_TO_NORMAL_Breaks_Box_O ffice_Record_at_the_Booth_Theatre_20100104>.

Abstract (if available)

Linked assets

University of Southern California Dissertations and Theses

Asset Metadata

Creator Phillips, Erica Ellen (author)

Core Title Resurrecting the stage: how 'Witness Uganda' could launch the new Golden Age of Broadway from right here in Los Angeles

School Annenberg School for Communication

Degree Master of Arts

Degree Program Specialized Journalism (The Arts)

Publication Date 08/02/2010

Defense Date 05/07/2010

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Africa,Los Angeles,Music,musical theater,OAI-PMH Harvest,performance,stage,Theater,Uganda,Witness Uganda

Place Name California (states), Los Angeles (city or populated place), Uganda (countries)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Page, Ellis Tim (committee chair), Kun, Joshua (committee member), Roman, David (committee member)

Creator Email eephilli@usc.edu,ericaephillips@yahoo.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-m3254

Unique identifier UC1107733

Identifier etd-PHILLIPS-3758 (filename),usctheses-m40 (legacy collection record id),usctheses-c127-365919 (legacy record id),usctheses-m3254 (legacy record id)

Legacy Identifier etd-PHILLIPS-3758.pdf

Dmrecord 365919

Document Type Thesis

Rights Phillips, Erica Ellen

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Repository Name Libraries, University of Southern California

Repository Location Los Angeles, California

Repository Email cisadmin@lib.usc.edu