INTERVIEW: New musical ‘Crossing Swords’ opens in NJ after NYC run
Crossing Swords, a new musical that played the New York Musical Festival, recently opened at the Hamilton Stage Theater in Rahway, New Jersey. A production of the American Theater Group, the show follows three teenagers who attempt to stage a production of Cyrano de Bergerac. However, the behind-the-scenes drama rivals the drama in the play, and there’s no telling what will happen by opening night.
The new musical is the brainchild of Joe Slabe, who pulls triple duty with the book, music and lyrics. The show is directed by Igor Goldin, and the cast features Sarah Dacey Charles and Steven Hauck, among others. Performances run through May 1, and tickets are $38, with discounts available.
Recently, Slabe exchanged emails with Hollywood Soapbox. Questions and answers have been slightly edited for style.
What got you interested in writing a musical about these three high school students who attempt to stage Cyrano?
I taught high school music for 10 years at a performing arts school and was heavily involved in the drama program as well. We actually did a production of Cyrano, and I was struck by how Rostand so expertly combined comedy, romance and tragedy. I also love the conceit of the backstage musical and combining a high school showmance with the love triangle in Cyrano seemed like a perfect fit. That was the original spark for Crossing Swords.
How long did it take to write?
I started Crossing Swords in 2005 when I was doing a masters degree in musical theatre composition at the University of London. I wrote the first act, and everyone loved it – to the point where they were begging me to finish it so they could learn how the story ends. But I wasn’t ready. The show felt a little like an after-school special, and it was originally going to have a tragic ending like Cyrano. I came back to it in 2011 with some new ideas about the journey of the two teachers in the story, and, after that, it took very little time to expand the first act and complete the second. And we premiered the show in 2012, so it took seven years with five years off in the middle.
What came first, the story, the songs, the characters?
The story for Crossing Swords was always going to mirror Cyrano de Bergerac, so the story came first, followed by the modern-day characters who would play the parts. I think starting with a strong story is one of the reasons the show works so well.
It can be rare for a writer to be responsible for the book, music and lyrics. What are the advantages of wearing so many hats?
I think the biggest advantage to writing all three is that there’s a unity of vision and a seamlessness between the book and the lyrics. But it can be really difficult when you don’t have a co-writer to bounce ideas around with. That’s why it was important to have workshops and two productions before now. Getting feedback from directors, actors and critics has helped me refine the show, and I’m really pleased with where it’s at now.
What is it like working with director Igor Goldin?
Igor is a fantastic director, and that’s why I insisted he come back to Crossing Swords after he directed it at NYMF. He’s a great mentor to the younger actors, talking them through some difficult material, but he also has a very clear, almost cinematic, vision of the show. So much of the storytelling is enhanced by his very clear staging.
What’s your goal with the musical, both in Rahway and beyond?
The production of Crossing Swords in Rahway is all about testing the changes we made coming out of NYMF in 2013. There are three new songs, tweaks to the script throughout and a structural change that makes the whole story a lot clearer. I think the message of the play is really important right now so, ultimately, I’d love for it to get a run in New York so it gets a higher profile, and then open it up to regional theatres across the country.
The New York Musical Festival has started the journey of many ambitious shows. What was the response like at the festival for Crossing Swords?
The response to Crossing Swords from both audiences and critics was amazing. We won five NYMF awards including Excellence in Writing (Book) and the Theater for the American Musical Prize. Igor Goldin won for his direction, and Steve Hauck (who’s back for the Rahway production) won an Outstanding Performance award for his role as Sir. The reviews were fantastic, but I looked for where people thought the show could be improved, since I knew I’d be doing further re-writes. As strong as the show was at NYMF, I know that this version is even better.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Click here for more information on Crossing Swards and American Theater Group.
