A Rallying Cry For Broadway

Times Square, New York
Times Square, New York

Theater is a temporal art; shows open, shows close and we move on. New York City is constantly changing; midtown has recently lost some of our favorite haunts with Cafe Edison, Colony Music and McHale’s Bar and Grill closing. Last year I retired and gave up most of my possessions to live in a smaller place. I moved on. Change is our status quo.

There is one painful memory where I find moving on isn’t so easy; it was too monumental. During the eighties and nineties, the Theater Industry was devastated by the HIV/AIDS epidemic. We lost Producers, Directors, Choreographers, Designers, Actors, Crew and more.  The Stage Managers’ Association was started after a number of Stage Managers banded together to try to help colleagues who were suddenly incapacitated due to this unknown disease.  I was one of those Stage Managers.  We would go through a list of people suffering and note who needed food, who needed a hospital visitor and who had disappeared.   It was common to have good friends just disappear, never to be heard from again.  Most came to New York because they didn’t fit in at home; many were forced to return home to die with the families that had shunned them.  Others, many others were at the city morgue.

What would Broadway look like now if all the victims had survived?  How many hits would Michael Bennett have directed?  How many shows would Howard Ashman have written?  Here is a link to a partial list of those we lost, but due to privacy laws there is no definitive directory and just these few names are devastating.  In 1991 alone, the total casualties from HIV/AIDS were near 20,000.  The Broadway Community banded together to create The Producers Group (later known as Broadway Cares), Meals On Wheels, Equity Fights AIDS, and such.  We were living in a war zone, triaging the new cases as we mourned the deaths.

The face of New York is different now.  There are new young people who are Producers, Directors, Choreographers, Designers, Actors, Crew and more.  Most of them have only heard about HIV/AIDS from television or if they saw “The Normal Heart.” Urban planners are building The NYC AIDS Memorial downtown, however it doesn’t address the specific devastation of Broadway’s talent pool.

Wouldn’t it be fitting if the Broadway Community rallied together and established a permanent Memorial in Duffy Square as a tribute to those of us who died too soon? Even just a plaque could serve as a reminder. Broadway is so adept at Opening Night greetings, Sunday potluck brunches and entertaining skits. Let’s stand up for something more substantial. Why not use our power to commemorate our departed friends who were victims of this horrible disease during Broadway’s darkest days? They lived their lives rushing across Duffy Square to rehearsals and performances. Future generations should be reminded of their loss at this crossroads of the theater district.

If you agree with me, please help me get word out by sharing this on social media and emailing it to friends.


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Dale Raoul, Michael Rubenstone, and James Liebman in FOREVER HOUSE at the Skylight Theatre, Written by Tony Abatemarco and Directed by Elizabeth Swain, Photo by Ed Krieger

FOREVER HOUSE is about a relationship that goes through many trials as Ben and Jack buy their first house together, try to have a family and confront their personal shortcomings.  Unfortunately, this tortured play is forced to schizophrenically jump from one style to another and the real trial is making sense of this overwrought, pedantic evening.

FOREVER HOUSE starts like a sitcom with the cast acting broadly, punching bad jokes out to the audience like “You don’t like shag carpeting?  Fags don’t like shags?” it then moves on to a ghost story complete with an apparition.  The second act goes from Family Drama to Lifetime Movie of the Week and ends on a diatribe of Pop Psychology with the lead character talking to his boyhood teddy bear as if it were his therapist.  There is no cohesion as we hurdle from style to style and the writing feels like a CliffsNotes version of dated social issues. I cringed throughout the entire show.

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(Front Row from Left) Eric Nelsen, Talisa Friedman, Asher Grodman and Jared Gertner  (Back Row) Emma Hunton and Corbin Bleu in the world premiere of “THE DODGERS” by Diana Amsterdam, directed by Dave Solomon at the HUDSON MAINSTAGE Theatre in Hollywood.  PHOTO CREDIT: Michael Lamont

I had a groovy time reminiscing about the late sixties with THE DODGERS until the reality of war set in with its loss of innocence resonating through this poignant new play.   THE DODGERS is filled with a commune of familiar hippie characters who struggle to help each other while the government starts the draft lottery.  Particularly good are Talisa Friedman as a “free love” woman, Eric Nelsen as a charming weasel and Corbin Bleu as a man torn between love and friends.  There is some wonderful storytelling and complex issues that sparked a post-show debate, but there is also a cliched twist of fate at a key moment and one shrill performance.  Still, I really enjoyed the writing and loved revisiting these flower power archetypes.

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