Interview: Leslie Sloan on Creating HIGH HEELS ON WHEELS The Musical at the Hudson Backstage Theatre

Those of us who remember the 60s no doubt were fans of Roller Derby on television. But ever wonder what it was like behind-the-scenes when the rough and tough female skaters let their hair down? The new musical High Heels on Wheels, with lyrics and book by Leslie Sloan and music by Eliza Jane McNamara, is part of this month’s Hollywood Fringe Festival, creatively directed by Kay Cole with music direction by Aaron Benham who accompanies the cast on keyboard, shares the story of Doris Selander, the best carhop in town, who decides to try out for the open spot of the local derby team in 1965. Her life takes many directions once she makes the decision to follow her dreams to roller derby stardom, despite the roadblocks in her way.

I decided to speak with Leslie Sloan (pictured) about her role in creating High Heels on Wheels, the process of bringing it to the Hollywood Fringe Festival, and what future plans may be in place for the musical which has been described as a melding of Hairspray and A League of Their Own.

Hi Leslie. Thanks for speaking with me about your new musical High Heels on Wheels which is thrilling audiences at Fringe. Since you wrote both the book and the lyrics, tell me about creating High Heels on Wheels. What first inspired you to write it?

Thank you so much, Shari, for taking the time to talk to me about High Heels on Wheels. In 2006, I made a short documentary called High Heels on Wheels (with Donna Cassyd). The documentary played at Outfest and aired on Logo Television, and introduced me to the world of roller derby. The pioneering women in the original Roller Derby (1940-1980) excelled as athletes in a time when women did not have many places to compete. The Derby was also a place where both women and men were out as gay/lesbian and could fully be themselves in an environment which embraced people of color from diverse communities. The women were true champions, and it was so meaningful both for them and for the viewer.

Were you a fan of roller derby? And did you ever attend a game in person?

I grew up in Flint, Michigan, and remember roller derby being on ABC on Saturday afternoon. Flint did not have a local team, but I have attended the present day LA Derby Dolls matches and they are incredible. It is such a thrilling and empowering environment, and much like roller derby in the 60s, I feel it is a place for me - a fun, athletic and empowering environment.

Have you worked with Eliza-Jane McNamara on creating another musical? If not, how did the two of you connect to write High Heels on Wheels?

Eliza-Jane and I met through a yearlong musical theater writing program at New Musicals Inc. The program culminates in a 15-minute musical, and Eliza-Jane and I were part of a 3-person team (with book writer Rhonda Legeyre). We wrote a western musical called The Legend of the Brothers Legrand which played at the 2018 Fringe Festival. This was a wonderful collaboration, and I asked her if she would like to collaborate further on High Heels on Wheels. And lucky for me, she said yes. Eliza-Jane is a tremendously talented composer and performer.

How long did it take for you to write the book and lyrics? And did you write them first before Eliza-Jane added the music?

I first started working on the book and lyrics in 2017. Through NMI, I learned the craft of musical theatre book and lyric writing, and continued to refine the script. I had written many of the lyrics beforehand, but once I started collaborating with Eliza-Jane, the lyrics were refined to both the needs of the story and the music. We also added songs where the music was written first. then the lyrics.

How did you get Kay Cole, one of the original cast members of A Chorus Line, to direct and choreograph the show?

I was lucky enough to meet Kay Cole through a mutual friend. Kay read the script, heard the songs, and viewed a recording of our staged reading. She really believed in the material and her initial support was so meaningful to me. Thankfully, her schedule allowed her to direct the show, and she brought it to life in an incredible way.

Were rehearsals held in person or online? And how long was the rehearsal process?

Rehearsals were held in person, meeting 3-4 times a week for one month.  

In program notes, I learned the musical was scheduled to be staged in 2020 before the world shut down. Prior to this year’s Fringe, what had been going on with the show since then?

We’ve had 2 staged readings, one in Chicago (Eliza-Jane’s residence) and one in Los Angeles.  We gained insight into the musical each time and refined it based on the feedback we received.

Why did you decide to put the show on at the Hudson Backstage Theatre during Fringe rather than anywhere else?

The Fringe Festival is a unique opportunity to put the show on its feet (or skates) for the first time. The creative community of Fringe is such a supportive and fun environment, and I love the Hudson Backstage Theatre. In 2022, I wrote the lyrics for the musical Stilettos and Steel which also played at the Hudson. The size of the stage is ideal for a musical, and the poles onstage fit right in for the rough and tumble Derby action!

Do you consider the show’s focus on pursuing your dreams no matter the costs its major theme?

Every musical has an “I want” song/moment, and much like the women in our documentary, Doris loves the Derby and her want/dream is to be a roller derby skater. She will risk her relationship with her mother and community to go for it, and is willing to do anything to be a part of the team.

Rachael McLachlan (Doris) and Giana Bommarito (Sally)

Was showcasing the lesbian relationship between Sally Lustin, the Derby’s biggest fan and world-famous folk singer, and Doris, the skater-hopeful turned team manager, always a plot line you wanted to include to focus on LGBQT self-acceptance?

Yes, it was. The Derby was an inclusive place for gays and lesbians, but the world outside the derby is/was not always as accepting. Both Doris and Sally are on a journey – Doris towards self-realization and acceptance, and Sally learning to keep her career and personal life separate.  It is an empowering journey for Doris, and I wanted to showcase the positive place that the Derby was for gays and lesbians at that time.

How did you go about casting the Fringe show?

Several of our cast members were in our LA reading, and the rest we found through a combination of casting (through Actors Access), personal recommendations, and New Musical Inc’s incredible talent pool.

The show has such a great background soundtrack, featuring hits from the 60s. Was the era’s music the basis upon which the new songs were written?

All of the songs in the musical are original and inspired by the era. We had Sally Lustin sing some of her songs, and it is always fun to write outside of the story for a song that might have played on the radio in the 60s.

Was there a Bucket Seat Betty that bullied you in life as she does to the other skaters in the show?

Bucket Seat Betty (Carrie Lynn Certa) leads the roller derby girls.

Thankfully, I didn’t encounter true bullies, and am grateful for my mother who always encouraged me to go for my goals and dreams, which is different than Doris’ Mom’s initial reaction to her Derby Pursuit.

Are there a few of the songs that ring the truest for you in your own life?

I especially love Just Because We’re Doing This, Doesn’t Make Us That. It has a beautiful melody, and also showcases the journey of our central characters. Doris, our main character, has discovered the word “lesbian” for the first time, and it is empowering to her. Sally, the closeted rock star knows the meaning, but it is a source of sadness for her. This juxtaposition plays a central theme in the story.  Also, the song Roller Derby Dorothy, performed when Doris finds her home is on the team, is a very fun and meaningful song, capturing the triumphant moment of one’s journey of finding themselves and their place in the world.

Rachael McLachlan (Doris) and Giana Bommarito (Sally)

What plans do you have for the show after Fringe?

We would like to partner with a theatre for a full-scale production, complete with a realized set and production design, to fully showcase the derby action and time period.  

Anything else you would like to share about High Heels on Wheels?

Rachael McLachlan as Doris and Elizabeth A. (Bouton) Summerer as her Mom

There is no limit to the audiences who would enjoy the show, including every generation of the LGBT community, the skating community, and fans of roller derby both past and present. The musical also has a B story line which is sadly relevant for today’s audiences: the team travels to states where birth control is illegal. As we now witness both the growth and retraction of civil rights in America, this Derby story is an inspiration that is personal and relevant - a history worth knowing, a future worth fighting for, and a template for living.

There are two more performances of High Heels on Wheels during the Hollywood Fringe Festival on Thursday, June 22 at 8:30 PM and Saturday, June 24 at 2:00 PM at the Hudson Backstage Theatre, 6539 Santa Monica Blvd., L.A. 90038. Run time is 95 minutes. Tickets are $25, available at https://www.hollywoodfringe.org/projects/7324. Attended parking lot at $5 per car behind the theatre. Read street parking signs in the area carefully.

Learn More at highheelsonwheelsthemusical.com

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