30 Days of NYMF: Let's Have a Swingin' Party

LET'S HAVE A SWINGIN' PARTY
by Matt Boresi, bookwriter/lyricist of Going Down Swingin'

By the time you read these words, Going Down Swingin' will be playing at the TBG Theatre, and, with a little luck (and a lot of talent from the dedicated and seasoned Swingin' cast and crew) charming and challenging audiences with its unique blend of jazzy tunes, classic radio (gently parodied), and the sexy, immortal myth of Don Giovanni set in a whole new infernal light.

Right now, I'm sitting in the theatre at our one (incomplete) run-through in the space, watching the marvelous Mister Christopher Shyer prepare for his climactic scene as crooner and lothario Dean Newhouse.  Christopher is alone on the spare (read: festival friendly) set, giving a raging monologue from his hard-partying character directed at what Dean sees a softening society.  Christopher and director Jenny Lord  have crafted a delightful and telling personal moment for the character, who has lined up some pills in a little row on a piano bench (Dean is very fond of pills) and is addressing them like a tiny audience, then popping these audience members, one by one, into his mouth.  Dean is a man losing control of his world, but Christopher is in complete control of the stage, and my attention, right now – and I look forward to pacing playwright's alley and watching our real audience fall prey to Dean's charms.

When the moment passes, it hits me – that guy, Christopher Shyer, I mean, opens Swingin' tonight – and joins the cast of Mamma Mia! at the Winter Garden on Wednesday.  Wednesday!  Shouldn't Chris be off working on his disco moves someplace?  But here is, along with the rest of the amazing cast, pit, and crew, many of whom are also doing 8 shows a week and/or multiple other projects.  Still they are here, giving it their all, rolling the dice that Going Down Swingin' will draw enough attention at NYMF to go on to a long and fruitful life.  The development of new musical theatre pieces demands this kind of hard work and sacrifice from a huge group of artists.  They dash off to rehearsal between gigs, they work for a pittance, and at some point - the actors learn their lines – the director plans out the rehearsals - the musicians learn all those songs.

When?

I don't know .

I guess they don't sleep.  Or eat.  Or take much time to breathe, really.  But, for the sake of this piece and the creative team – thank goodness they find that time.  And this piece, this piece set in 1956, an era brimming with social and political movement – an era with a musical scene rich with jazz greats and bursting with the new sound of rock and roll, requires a lot of research from all parties, too – long nights at the Museum of Television of Radio, untold hours on YouTube, days spent listening to old thrillers and comedies and detective noir.  Peter Hilliard (he's the composer) and I hope we've given these fine people an opportunity to shine, and a crack at something long term – but what we've asked is for one helluva month or so chained to a script and score heavy with the weight of American history.  Looks like it's going to come together tonight.  Looks like we're going to have our Swingin' party.