In 2006 did you see the Broadway Musical
Martin Short: Fame Becomes Me ?

In July 2006, Martin Short, the well known Canadian comedian opened his one man show (with an ensemble) Martin Short: Fame Becomes Me. He played himself and many of his famous characters including Ed Grimley. Each night featured a surprise celebrity visitor, including Nathan Lane, Donny Osmond, Kevin Kline, Ben Stiller, Harvey Fierstein, Bette Midler, Rosie O'Donnell, and many many others. On January 7, 2007, Short closed the successful show on a high note.
This was the  official website or the Broadway musical, Martin Short: Fame Becomes Me
Content is from the site's 2006 archived pages as well as from other outside sources.


Martin Short "Fame Becomes Me" Jack FM Promo


Editor's note:
Don't sell this guy short! He's a truly funny man who doesn't deserve to be criticized for his height. We were chatting backstage when one of his buddies came in with an electronic vaporizer what he called an e-cigarette. It made a huge cloud of smoke-like vapor (wasn't really smoke) which amazed us. Martin asked to try it and totally loved it, making all kinds of obscene jokes about sucking on something for kicks. But the vaporizer was a new technology that had promise for the stage and Martin latched onto that aspect immediately, and in a serious discussion asked about whether the device could be miniaturized further. His friend explained that he had just the thing. He'd been a partner in the business that was importing these tiny 510 cartridges for a test market here in the US. 510 stands for the thread count on the battery that connects to the 510 cartridge - the part that generates the nicotine hit (or the THC, or flavored whatever). I don't know if Short ever used this in his act, but while I was there he walked through some great ideas, most involved exploiting the giant cloud that the vape device created as you exhaled. I felt like I was observing the introduction of a new kind of technology onto the performance of a celebrity comic. Will catch up with him later and report back...


Martin Short: Fame Becomes Me Opens

by Walter McBride Aug. 18, 2006

Martin Short: Fame Becomes Me, a new musical starring the Tony Award-winning funnyman, opened on Broadway at the Bernard B. Jacobs Theatre (242 West 45th Street) on Thursday, August 17, 2006; previews started Saturday, July 29.

Conceived by Short and Scott Wittman, Fame Becomes Me features a book by Short and Daniel Goldfarb (Modern Orthodox) and music by Marc Shaiman and lyrics by Wittman and Shaiman (Hairspray). Directed by Wittman, the show previously played Toronto's Canon Theatre and Chicago's LaSalle Bank Theatre.

"Martin Short: Fame Becomes Me features Short in a tour de force guiding us through an improbable version of his life story. Backed by a brilliant cast of top Broadway performers (who constantly steal focus from Mr. Short when he's not looking), Short's transparent play for love and attention asks the burning question, does an autobiography really have to be true?," state press notes. The show features Brooks Ashmanskas, Mary Birdsong, Capathia Jenkins and Nicole Parker playing a wide variety of different characters, both real and imagined, who figure into Short's parallel reality.



The Story of a Guy Who May Not Be Martin Short, but Sure Looks Like Him

By BEN BRANTLEYAUG. 18, 2006 |

Like some crazy mixed-up house pet — part pit bull, part lap dog — the Broadway musical has taken to biting and licking simultaneously the hand that feeds it. A blend of poison pen and love letter to the traditional song-and-dance show, spiked with the backstage knowingness of an obsessive theater queen, has been the formula for hits like “The Producers” (the rakish father of the trend), “Spamalot,” “Dirty Rotten Scoundrels” and “The Drowsy Chaperone.”

The latest entry in this sweet but snarky category is “Martin Short: Fame Becomes Me,” the eager and amiably scattershot “comedy musical” that opened last night at the Bernard B. Jacobs Theater. It has to be said that Mr. Short, an appealing and immodestly modest (or is it modestly immodest?) performer, arrives a little late at the table for such parody to feel very fresh.

Still, credit the production — which includes songs by Scott Wittman and Marc Shaiman (of “Hairspray” fame) and is directed by Mr. Wittman — for coming up with one of the bravest moments of insider satire that this self-conscious subgenre has yet provided. This joyous raspberry is sounded toward the end of “Fame Becomes Me,” which is a musical sendup of another expanding Broadway subgenre: the stand-up memoir, à la Elaine Stritch, Suzanne Somers and Billy Crystal.

Mr. Short, aided by a bouncy supporting cast, has unfolded a spurious autobiographical tale about a dysfunctional childhood, a Broadway-gypsy youth, a descent into drugs and public misbehavior, a glorious comeback and an untimely death. (The script is by Mr. Short and Daniel Goldfarb, with additional material by Alan Zweibel.)

Even though Mr. Short has been tireless, morphing into the most famous alter-egos of his television career (the übernerd Ed Grimley, the talk-show host Jiminy Glick et al.), the show has not sustained the momentum it needs to soar.

Enter one dea ex machina, named Capathia Jenkins. Broad of beam, with an even larger voice, Ms. Jenkins is also African-American, which would normally be beside the point. But as she says while she hustles Mr. Short (now in the guise of a geriatric songwriter) out of a sketch set in heaven, her race is a crucial part of the showbiz package she represents. She sings her explanation with rafter-rattling gusto:

If your plot’s running thin
Let a big black lady stop the show.

A Big Black Lady Stops the Show -Fame Becomes Me


The song, called “Stop the Show,” goes on ruthlessly to dissect an overexploited entertainment stereotype, a variation of which is found frequently, amid increasing controversy, on television commercials. (Ms. Jenkins wonders why songs for this stereotype, whether gospel or blues, are usually written by “gay white Jews.”) The inclusion of this number is all the gutsier when you realize that just such a show-stopper is used more than once in “Hairspray” (the popular Wittman-Shaiman musical) and was desperately trotted out in “The Goodbye Girl,” the notorious 1993 flop that starred Mr. Short.

Martin Short stars as himself and a few other people in "Martin Short: Fame Becomes Me." 
Credit Sara Krulwich/The New York Times

But something strange happens as Ms. Jenkins keeps pumping up the volume. The audience, having first laughed a little uncertainly at the joke, starts to revel in the gospel beat, clapping along and bobbing its collective head. Sure enough, “Stop the Show,” alone among the production’s 20-some numbers, stops the show.

Talk about having your red velvet cake and eating it too. “Stop the Show” is the most successful embodiment of the contradictory desires to soothe and sting that propel “Fame Becomes Me.” As befits the comic persona of Mr. Short, who always seemed like the friendliest of the “Saturday Night Live” alumni who made it big, it’s the urge to ingratiate that wins out. “Fame Becomes Me” longs to appeal on so many levels that it winds up twisting itself into a pretzel: the soft kind, sold at malls, that practically melts in your mouth.

Flitting through post-“S.N.L.” television series and movies of varying quality and success, the Canadian-born, immensely talented Mr. Short has become a wandering star in search of a galaxy. As his performances in the limp 1998 revival of “Little Me” (for which he won a Tony) and the even limper “Goodbye Girl” attested, he’s a natural for live musicals, a limber singer and dancer who exudes a fiery energy that makes you want to reach for your sunglasses.

“Fame Becomes Me” was supposed to be the custom-made vehicle that finally took full advantage of Mr. Short’s stageworthiness. But instead of being pure pleasure, it’s merely pleasant, rather like a decent summer-replacement comedy sketch series on television.

That may be because the show wants to do too much, at the expense of letting us get to know its star. Now of course part of the point of “Fame Becomes Me,” which was conceived by Mr. Short and Mr. Wittman, is that you don’t get to know Mr. Short.

The show is a goof on the theatricalization of the celebrity autobiography in a time, as the opening song puts it, when “everyone’s vagina’s got a monologue.” Mr. Short explains that since his life has been so happy, he’ll have to invent a scandalous history. “A lot of what I’m telling you tonight will be true,” he says, “a lot I’ll be making up. See if you can tell the difference.”

But though there’s a vague (and only vaguely witty) bio-narrative, “Fame Becomes Me” is essentially an old-fashioned revue with serviceably melodic songs and the gear-stripping rhythms of a jittery stand-up comic. It keeps throwing out one joke after another to see which will stick.

A suspended Martin Short, and a more earthbound crew of, from left, Mary Birdsong, Capathia Jenkins and Brooks Ashmanskas. 
Credit Sara Krulwich/The New York Times

Some of these jokes are good, some moldy. But Mr. Short never settles into one routine or character long enough for us to savor it fully. (A nifty “Wizard of Oz” riff, in which Mr. Short appears as a singing picket fence to Mary Birdsong’s spot-on Dorothy, comes and goes all too quickly.) And when he’s being the real Martin Short, commenting wryly in song on the whole shebang, he seems inchoate, like a chameleon without a skin, or — given his trademark impish look — a little boy waiting hopefully to grow up.

As its title promises, the show caters to and makes fun of the American obsession with fame. This allows Mr. Short to appear entertainingly as the fatuous celebrity interviewer Jiminy Glick. (The changing cast of guest-star interviewees are real; the one I saw was an unflappable Nathan Lane.)

The ensemble members — Mr. Shaiman , Ms. Jenkins, Ms. Birdsong, Brooks Ashmanskas and Nicole Parker — show up as an assortment of bold-face beings: Joan Rivers, Andy Warhol, Celine Dion, Liza Minnelli, a baby-dropping Britney Spears and (most devilishly) the choreographers Bob Fosse and Tommy Tune, for whom Mr. Short says he once auditioned.



Martin Short: Fame Becomes Me Opens


The new season's first entries are both concerned with celebrity mythomania. But the two shows couldn't be more distant in tone. "Kiki & Herb" airs the cabaret duo's jaded view that we're all going to die, so bring it on. But in his"Martin Short: Fame Becomes Me," the comic cheekily embraces his own death as an avenue to greater glorification.

With: Martin Short, Brooks Ashmanskas, Mary Birdsong, Capathia Jenkins, Nicole Parker, Marc Shaiman.

In an age when nothing piques popular curiosity quite like a glimpse of Suri Holmes Cruise or a fresh Brangelina development, it’s appropriate that the new Broadway season’s first entries are both concerned with celebrity mythomania. But the two shows couldn’t be more distant in tone. “Kiki & Herb: Alive on Broadway” ferociously airs the gnarled cabaret duo’s jaded view that we’re all going to die, so bring it on. But in his winsome musical showcase, “Martin Short: Fame Becomes Me,” the comic cheekily embraces his own death as an avenue to greater glorification.

Essentially a solo show with sparkling comedic and vocal support from an additional cast of five — including composer and co-conceiver Marc Shaiman, an engaging stage personality, bouncing and squirming with glee at the piano — Short’s wildly embellished self-celebration makes a virtue of the glib smugness that’s almost a prerequisite of the form.

Despite a similar fascination with fame, his faux sincerity is entirely different from, say, Sandra Bernhard’s — the style here is more benign and ingratiating, less sardonic. But that’s not to say it’s a toothless session of ego massage and celeb satire.

Short’s irreverent riffs on stars past and present are matched by a refreshing refusal to take himself too seriously. Given that you can’t switch on an awards show without someone gushing, “I am so-oo blessed,” it’s funny to witness a star conceding upfront that a life of success and happiness is a yawn for everyone else. Hence the need to invent a dysfunctional past and concoct a brush with mortality. “A lot of what I’ll be telling you will be true,” Short offers. “A lot I’ll be making up. See if you can tell the difference.”

Despite some memorable film appearances, Short was arguably at his best on “SCTV” and “Saturday Night Live.” That background is apparent in the sketch-based nature of his book for this show, co-written with playwright Daniel Goldfarb (“Modern Orthodox”) and with additional material by vet “SNL” scribe Alan Zweibel, who undertook similar duties on Billy Crystal’s “700 Sundays.” As in all skit shows, the material is inconsistent, but here it’s on the mark more often than not.

In the song “Babies,” we get Short’s birth and instant breast fixation; in “Don’t Wanna Be Me,” he escapes his supposedly abusive father (shades of Suzanne Somers’ embarrassing solo show) into the fantasy of TV talkshow stardom. In “Ba-Ba-Ba-Bu-Duh Broadway!” he leaves Canada to conquer the Great White Way; in “Sniff, Sniff,” he succumbs to the coke-fueled hedonism of the Studio 54 era; and in “Twelve Step Pappy,” he emerges from rehab as a showbiz survivor, with an explicit nod to “Elaine Stritch at Liberty.”

The outrageous fabrication taking place is exposed when Short’s brother, Michael (Brooks Ashmanskas), objects from one of the theater’s boxes during a family Christmas recollection that father wasn’t an actor, mother never smoked, they didn’t have a sister, and they’re Jewish. “His own meshpucha!” he fumes. (In reality, Short is a Catholic of Irish descent.)

More than revealing anything about Short, these setups often serve to lampoon musicals in “Forbidden Broadway” style or send up celebrities. Short’s alleged triumph in a show called “Step Brother de Jesus” skewers “Jesus Christ Superstar” and “Hair,” complete with mock full-frontal nudity. His abortive auditions are recalled, first for Tommy Tune, then Bob Fosse. Covering both roles, Ashmanskas is especially hilarious as Tune, wearing stilts and white bell-bottoms, affecting a fey Texan drawl as he struggles to cross his elongated legs atop the piano.

Among Short’s star takes, his Elizabeth Taylor is just OK, his shaky Katharine Hepburn is better and his sonorous-voiced Richard Burton is best of all. He frequently and generously allows the spotlight to linger on his co-stars, giving ample space, for instance, to priceless Mary Birdsong’s spot-on Judy Garland in ersatz “Wizard of Oz” pic “The Farmer’s Daughter.”

Birdsong and Nicole Parker score some of the biggest laughs with a roster of impersonations, nailing Jodie Foster, Renee Zellweger, Celine Dion, Britney Spears, Ellen DeGeneres and Joan Rivers, among others. Some of these figure in the search for a replacement star when Short ends up in a lightning-induced coma after inviting God to strike him dead.

While the show has been tightened into one act since its first tryout stop in San Francisco, this exploration of Short’s demise and contemplation of the ensuing tributes are stretched a little thin. Despite developing something closer to a narrative, this section marginally deflates the show’s balloon after a buoyant first half. It does, however, serve to accommodate Short’s fawning interviewer Jiminy Glick, who descends on the hospital like a celebrity ambulance chaser. (The audience recruit for this seg at the performance caught was a very sporting Tracey Ullman.) Another of Short’s stock characters, Irving Cohen, appears as a bawdy angel in heaven.

Songs by “Hairspray” team Shaiman and Scott Wittman (who does a tidy job directing) are witty and tuneful, capped by Capathia Jenkins’ “Stop the Show,” which neatly ribs the musical trend of “a big, black lady” bringing down the house with an obligatory 11 o’clock number.

Mirroring the inflated cast, production values also improve on the standard solo-show look. Scott Pask’s sets alternate cartoon backdrops with a Jerry Herman-esque staircase, affording Short an entrance both vainglorious and self-deprecating. Jess Goldstein’s costumes are entertainingly daffy, as is Christopher Gattelli’s pastiche choreography.

If there’s a slight feeling of insubstantiality since the show never really abandons jokiness to expose the man behind the performer centerstage, Short nonetheless delivers a good time. He keeps tongue planted firmly in cheek while offering celebrity self-love and shamelessly insincere soul-searching.

Martin Short: Fame Becomes Me
Bernard B. Jacobs Theater; 1,025 seats; $101.25 top

PRODUCTION: A Base Entertainment, Harbor Entertainment, Roy Furman, Jeffrey A. Sine presentation in association with Lisa Lapan and Terry E. Schnuck of a musical in one act with book by Martin Short and Daniel Goldfarb, music and arrangements Marc Shaiman, lyrics by Scott Wittman and Shaiman, conceived by Short and Shaiman. Additional material by Alan Zweibel. Directed by Wittman. Musical direction, Charlie Alterman. Choreography, Christopher Gattelli.

CREW: Sets, Scott Pask; costumes, Jess Goldstein; lighting, Chris Lee; sound, Peter Hylenski; orchestrations, Larry Blank; music coordinator, John Miller; wigs, Charles Laponte; production stage manager, Bess Marie Glorioso. Opened Aug. 17, 2006; reviewed Aug. 16. Running time: 1 HOUR, 40 MIN.

Interview Martin Short

"HILARIOUS! It's a satirical tour de force! One of the great comic geniuses of our age, Short is the complete entertainment package."


Meet The Cast

Martin Short, born in Hamilton, Ontario, Canada, is a veteran of theatre in Canada and on Broadway. Short appeared in the Broadway productions of Neil Simon and Cy Coleman’s Little Me (Tony Award, Outer Critics Circle Award), Neil Simon’s The Goodbye Girl (Tony Award nomination, Theater World Award, Outer Critics Circle Award) and in the Encores! Series in Neil Simon’s Promises, Promises. In Los Angeles, he appeared in Lawrence Kasdan’s production of John Patrick Shanley’s Four Dogs and a Bone and Mel Brooks’ The Producers. Short began his theatrical career in the Toronto production of Godspell. In 1982, he joined the “SCTV Comedy Network” where his work garnered an Emmy Award. Short's ability as a comedic chameleon brought him to "Saturday Night Live,” where his standout performances included Ed Grimley, Jackie Rogers Jr., legendary songwriter Irving Cohen and lawyer Nathan Thurm. He co-wrote, produced and starred in three highly acclaimed television comedy specials: "Martin Short's Concert for the North Americas" (Ace Award); "I, Martin Short, Goes Hollywood" (Ace Award); and "The Show Formerly Known As The Martin Short Show” (Emmy Award). He co-starred in the miniseries “Merlin” (Emmy nomination) and “Alice in Wonderland” as the Mad Hatter. In the fall of 1999 he hosted the daily “The Martin Short Show” (nine Emmy nominations). From 2001-2003, Short co-wrote, produced and starred as star-interviewer extraordinaire Jiminy Glick in “Primetime Glick” (Emmy nomination). Short made the jump to the big screen in 1986 with Three Amigos and Innerspace. Among his other films are Three FugitivesThe Big PictureCliffordFather of the Bride (1 & 2)Mars Attacksand Jiminy Glick in La La Wood. In 1994, Short was awarded Canada’s highest civilian honor, The Order of Canada for his contribution to Canadian culture and was inducted into the Canadian Walk of Fame in June 2000. Mr. Short worships and adores his wife Nancy and their children Katherine, Oliver and Henry.

 Brooks Ashmanskas(Comedy All Star) Broadway: The Producers(Susan Stroman, director); Gypsy (Sam Mendes, dir., also CD); Little Me (Rob Marshall, dir., CD); Dream (Wayne Cilento, dir.); How to Succeed… (Des McAnuff, dir.); On the Twentieth Century (Peter Flynn, dir.). Off Broadway: Wise Guys (Sam Mendes, dir.); On a Clear Day (Mark Brokaw, dir.); Labor Day(Jack O’Brien, dir.); Songs for a New World (Daisy Prince, dir., CD); London Suite (Daniel Sullivan, dir.); It Changes Every Year (Nicholas Martin, dir.). Regional: Huntington, Hartford, Old Globe, Williamstown. Tours: CinderellaNoises Off.

 Mary Birdsong (Comedy All Star). Theatre: Adult Entertainment (Off-B’Way. Stanley Donen, dir.); Palm Beach (Naked Angels. Robert Carey, dir.);Julius Caesar (Moonwork. Gregory Wolfe, dir.). Mary also wrote and starred in Judy Speaks (Ars Nova. Gregory Wolfe, dir.). TV: “Reno 911,” “The Daily Show w/Jon Stewart,” “Ed,” & “Late Night w/Conan O’Brien.” Film: Reno 911: MiamiBeer LeaguePizza.

 Capathia Jenkins, (Comedy All Star) Broadway: Caroline or ChangeThe Look of LoveThe Civil War. Off-Broadway: Godspell. National and European tours: Ain't Misbehavin'DreamgirlsBubblin' Brown Sugar. Regional: Children of Eden. Film: Marci X. Television: "The Practice," "Law & Order," "Law & Order: SVU," "Third Watch," "The Sopranos." Film soundtracks: ChicagoLegally Blonde 2. A proud member of AEA.

Nicole Parker (Comedy All Star). Proud member of AEA. Broadway: Hairspray, Saturday Night Fever, Les Miserables (Original Cast, also recording). National Tour: Hairspray. Regional: The Opposite of Sex (World Premiere – Bobette), Joseph… (Narrator), Footloose (Wendy Jo). Film: Everyday People (HBO), Married to It. Television: “Hometown,” “All My Children.” Donna will be seen in the upcoming musical Legally Blonde directed by Jerry Mitchell. Thanks to Marc and Scott, and to Joe for his never-ending support.


Jill Abramovitz (Understudy)How The Grinch Stole Christmas (Workshop), Junie B. Jones (Heisler/Goldrich - Lucille Lortel), Cam Jansen(O'Keefe/Benjamin - The Lamb's), Bush Is Bad (The Triad), The Riot Act(sketch writer/performer). As a lyricist, Jill is the recipient of the Harrington Award for excellence in the BMI Workshop.

 Charlie Alterman (Music Director/Understudy). Broadway: BrooklynAvenue Q. National tour: Grease (starring Frankie Avalon). Off-Broadway: Almost HeavenSecrets Every Smart Traveler Should Know. Regional work includes Charles Strouse's You Never Know (world premiere, Trinity Rep) and eight seasons with the Williamstown Theatre Festival. Concert appearances: Dana Reeve, Billy Porter, Carol Woods and Ken Page.

Aisha deHaas (Understudy). Broadway: Caroline, Or ChangeRentBring In Da Noise. Television: “Law & Order,” “Third Watch,” “Ed.” Movies: RentThe Secret Lives Of DentistsMarci X. U.S. and European tours: DreamgirlsAin't Misbehavin'Little Shop Of HorrorsOleta Adams (backing vocals). Member of AEA.

Edward Staudenmayer (Understudy). Forbidden BroadwayBeauty And The BeastScarlet PimpernelJoseph.The Great Ostrovsky (Barrymore nomination), Exactly Like YouNewsicalOn The 20th CenturyNoises OffBye Bye Birdie1776Breaking Up Is Hard To Do, MTV's “Celebrity Deathmatch.”


Meet The Creative Team



MARC SHAIMAN received both a Grammy and a Tony award for his work on Hairspray. He has toiled on more than 50 films including When Harry Met Sally, BeachesBroadcast NeCity SlickersThe Addams FamilyA Few Good MenSister ActSleepless In SeattleThe First Wives ClubPatch AdamsThe American President, In & OutGeorge of the Jungle and South Park. He has been nominated five times for an Oscar and lost every time. He started his career as vocal arranger for Bette Midler, eventually becoming her musical director and producer. Their collaboration on her Emmy Award-winning performance for Johnny Carson’s final “Tonight Show” will always remain a dream. He auditioned but was not chosen to play himself on her sitcom. Marc was an Emmy nominee for writing on “Saturday Night Live” (the Sweeney Sisters) and is an actual Emmy Award winner for co-writing Billy Crystal’s “Oscar Medleys.” He was nominated for two Grammy Awards for his arrangements for Harry Connick Jr. and he has worked with many other artists including Peter Allen, Eric Clapton, Lauryn Hill, Nathan Lane, Patti LuPone, Martin Short and Barbra Streisand. Marc has also finished (hopefully) writing Catch Me If You Can, a musicalization of the Steven Spielberg film.

SCOTT WITTMAN received the Tony and Grammy Award for his work on Hairspray. On Broadway, in concert, for film and television and in many a boite, Scott Wittman has conceived, written and/or directed and collaborated with the following (are you sitting?): Kristin Chenoweth, Jayne County, Sandy Duncan, Christine Ebersole, Dame Edna, Annie Golden, Debbie Gravitte, the High-Heeled Women, Allison Janney, Madeline Kahn, Lainie Kazan, Laura Kenyon (as Lainie Kazan), Nathan Lane, Ute Lemper, Darlene Love, Patti LuPone, Lypsinka, Ann Magnuson, Andrea Martin, Lonette McKee, Mike Myers, Bette Midler, Sarah Jessica Parker, John Sex, Elaine Stritch, Bruce Vilanch, Rufus Wainwright, Raquel Welch, and Holly Woodlawn. Scott is currently co-writing Catch Me If You Can with Terrence McNally and Marc Shaiman to open on Broadway next season.

DANIEL GOLDFARB Off-Broadway: Modern Orthodox at Dodger Stages (featuring Jason Biggs, Molly Ringwald, and Craig Bierko – directed by James Lapine) Sarah, Sarah at Manhattan Theater Club (featuring J. Smith-Cameron and Richard Masur), Adam Baum and the Jew Movie at Blue Light (featuring Ron Leibman - 2000 NY Newsday Oppenheimer Award, 2003 Canadian Authors Association Award for Best Play, 2000 Dramatist’s Guild Hull-Warriner Award Finalist). All three plays received extended runs, and are published by Dramatists Play Service. They have been produced across the United States, as well as in Canada, Israel, Australia, and South Africa. In Development: musicals Jerry Christmas (with Andrew Lippa) and Party Come Here (with David Kirshenbaum), a new play for South Coast Rep.; Commissions: The Roundabout / Nederlander Organization, South Coast Rep. Grants: AT&T-OnStage, Lincoln Center Lecomte du Nouy Foundation, The Jerome Foundation, NEA. Education: The Juilliard School, NYU (BFA, MFA - now teaches playwriting and screenwriting there). Member: The Dramatist’s Guild, WGA, MCC’s Playwrights Coalition. Originally from Toronto, Daniel lives with his wife Marianna in New York.

ALAN ZWEIBEL (Additional Material). An original “Saturday Night Live” writer, Alan has won multiple Emmy, Writers Guild of America, Cable Ace and TV Critics awards for his work in television, which also includes PBS’s “Great Performances,” “It’s Garry Shandling’s Show” (which he co-created and executive produced) as well as HBO’s “Curb Your Enthusiasm.” Alan’s Off-Broadway contributions have been the plays Between Cars and Comic Dialogue as well as Bunny Bunny – Gilda Radner: A Sort of Romantic Comedy, which he adapted from his book. In films, he co-wrote the screenplays for DragnetNorth (adapted from his book) and The Story of Us. Zweibel’s humor has appeared in such diverse publications as EsquireThe Atlantic MonthlyThe New York Times Op-Ed page and Mad Magazine and has been reprinted in numerous collections and anthologies. He recently had two books published – a Junior Library Guild award-winning children’s book titled Our Tree Named Steve and the critically acclaimed novel, The Other Shulman. He also collaborated with Billy Crystal on the Tony Award-winning play 700 Sundays. However, the production that Alan is proudest of is the family he and his wife Robin have created with their three children: Adam, Lindsay, Sari and their newest family member, Adam’s wife Cori.

CHRISTOPHER GATTELLI (Choreographer). Some favorites- directed Silence! Silence of the Lambs: The Musical! (Best Musical Fringe Festival 2005). Off Broadway: Altar Boyz (Lortel Award, Joe Callaway Award, Drama Desk nom.); Bat Boy: The Musical! (Lortel Award); tick, tick...Boom! Directed the Broadway concert of HairA Charlie Brown Christmas, choreographed the Broadway concert of Chess with Josh Groban, resident choreographer for “The Rosie O’Donnell Show”. Upcoming: High Fidelity - The Musical and Sunday in the Park with George, directing a “live Billboard” in Times Square, Emmett Otter’s Jug and Band Christmas and directing the re-invented 2007 Ringling Bros. Circus.

SCOTT PASK (Scenic Design) won the 2005 Tony Award for The Pillowman, which he originally designed for London's National Theatre. Other Broadway: The Lieutenant of InishmoreThe Wedding SingerUrinetown(Lortel nom), Sweet Charity (2005, Drama Desk nom.), La Cage Aux Folles (05), Little Shop of HorrorsNine(2003, Outer Critics circle nom.), Take Me Out (Drama Desk nom.), Amour (Drama Desk, Hewes noms). Also: On an Average Day (West End), Tales From Hollywood (Donmar). Bash (Almeida, NY, L.A. and Showtime). 1999 Lucille Lortel and Hewes Awards for his work on The Mineola Twins; 2001 Bessie Award.

JESS GOLDSTEIN (Costume Designer) received the 2005 Tony Award for Lincoln Center’s The Rivals. Other selected New York credits include Jersey BoysJulius Caesar with Denzel Washington, Henry IVTake Me OutEnchanted April, ProofLove! Valour! Compassion!, The Most Happy FellaDinner With FriendsHow I Learned to DriveStuff HappensBuried Child and The Mineola Twins (Lortel and Hewes Awards). He will make his Met debut with Jack O’Brien’s 2007 production of Il Trittico. Designs for film include A Walk on the MoonLove! Valour! Compassion! and The Substance of Fire. He is an associate professor at the Yale School of Drama.

CHRIS LEE (Lighting Designer) Broadway/West End: Linda Eder Live At The Gershwin (Broadway), Shakespeare’s Romeo and Juliet (Tokyo & London). Off-Broadway: Saving Aimee!The Mistress CycleUnder The BridgeBoyBroadway Bares VI – XIV…in the absence of spring…The NotebookSarah Plain And TallThe Summer Of The SwansSkyscraperCloud NineLinda Eder Live at Carnegie HallOnce In A Lifetime. Regional: UrinetownElegies: A Song CycleThe Last Five YearsOne Red FlowerFolliesHedwig And The Angry InchGrand Hotel…in the absence of spring…SideshowSammy And MeRosemary And I The Tin Pan Alley RagI Am My Own WifeOf Mice And MenMy Fair LadyDames At SeaFour Dogs and a Bone and Three Viewings. Other: Jesus Christ Superstar (European Tour), Barbie Live In Fairytopia!Twice Charmedand Remember The Magic for Disney Creative Entertainment, Camp, Design Associate with Imagination.

PETER HYLENSKI (Sound Designer). Credits include: The Wedding SingerSweet CharityLittle WomenBrooklynRagtime (London’s West End, Olivier Award nomination Best Sound Design) Opening DoorsAnnieChildren’s Letters to GodLaughing Room OnlyDora the ExplorerChef’s TheaterOvations!Spoleto Festival(1999 - 2002), Blue’s Clues. As Associate: Cirque du Soleil’s ZumanityFosseTabooSeussicalThe Music ManFollies, and Parade. Film: re-recording mixer Search for LifeSonicVisionCosmic Collisions. He holds a BFA from Carnegie Mellon University.

LARRY BLANK (Orchestrations) Broadway: The Drowsy ChaperoneLa Cage Aux FollesThe ProducersWhite Tie and Tails. London: The ProducersGuys and DollsBeautiful and the Damned. National Tours: SeussicalDr. DolittleWhite Christmas. Performers: Barbara Cook, Michael Crawford, John Barrowman, Michael Feinstein, Barry Manilow, Bernadette Peters, Martin Short, Tommy Tune, Nathan Lane, Marilyn Horne. Film: ChicagoThe Producers, six films for Marc Shaiman.