Over 30 years ago before I left the Bay Area to go to Los Angeles to take on the Vice Presidency of Ticketmaster I received a phone call from Barry Arnold.
I had been out of Roller Derby for at least 15 years, but I was who he was looking for.
Barry was a well-known Broadway lighting director and had worked on many successful shows, but he wanted to be a playwright and had written a treatise on Roller Derby, based on his boyhood memories of watching the game on television in New York.
He and composer John Braden were preparing to mount a two-week production for the Theatre of the New City at a 50-seat theater in New York. He wondered if I would look at the script, which was about a Roller Derby team, its manager and star with the sport nearing its final days. Of course he could send it to me.
I read it and found it entertaining, but not close to understanding the nature of the game and its people, and made a few suggestions. Then I heard the songs that John had written and was blown away. I became involved (so what else is new) and went to New York to see the production……with all of its faults and the fact there could be no skating, the staging was great and the audiences loved it, as did the critic from the Village Voice and other publications (“The last time I saw a production this good in a trial run it became Grease”). The music really worked, and although the story was corny, it was very appealing.
so what to do next? In 1982 I headed for LA and met with Lee Sankowitz ( a great director, friend of Judi) who mounted it at a small non-equity theater in Los Angeles….although the Times reviewer did not like it, all others did. Lee wanted to take it and make a major show (he discovered and produced “One Flew over the cuckoo’s nest) but the boys, especially Barry, didn’t want to lose control so they didn’t want to do it. Also (kicking myself years later) one of the most successful Broadway husband and wife producers wanted to take an option, mount it at Yale, and if ready, take it to Broadway. Again, a strong no, as Barry did not want his words to be changed (as they really needed).
My partner Hal loved the show, so with some friends we raised money and took it to the Theatre on the Square in San Francisco. Barry didn’t want to go because the book would be changed, but we did anyway with famed Broadway director Ron Fields…..And Buddy Atkinson, Jr, did a wondrous job of teaching the cast to skate. The continuing problem, the book, and too much use of cocaine by the people around the theater and those associated with the show. semi-good reviews, show not together…..closed with loss for all (Huey Lewis liked it!).
John Braden died shortly afterwards of Aids. Barry went to Hong Kong where he did some major musical productions for casinos and I would hear from him occasionally. Judi ran into him in Hong Kong and they went to dinner, and she remarked how manic he was.
I would get phone calls from him from LA, and occasionally he would have someone get in touch with him, but Barry was so demanding, nothing could happen. I would hear from him always on my birthday, and he would tell me how was becoming a successful promoter.
Then in 2006 he managed to get the show booked for two weeks at the prestigious festival for new musicals in New York. Composer Harold Wheeler (Music director for Dancing with the Stars and tons of Broadway shows) worked on the music with him, and one of the most renowned musical directors agreed to direct the show, which was scheduled for 2007.
Well, the worst of Barry showed up…..the rehearsals were a mess because he tried to control everything: when the reps from the Schubert organization came to see the show at a run through, it was such a shambles that they walked out; he tore the director up and down, caused such dissension in the cast that the show manager black balled him from the theater….The show ran, got a decent response. but it was just sickening when you realize what it could have been.
On the final night Judi and I had dinner with our friends Frank and Carol Deford, and Barry showed up sheepishly at the restaurant and we all had dinner. He was drawn and pale, and walked outside every few minutes to smoke. That was actually the last time I saw him.
when he was back in LA he saw that I was getting on facebook, he decided to do it also. He created SNN (the silly news network) and started to put humorous stuff out, and picked up several thousand followers of Roller Derby people. i think he thought that way someone would want to produce the show. The play was an obsession, and he wasn’t seeking any other work. During one of our conversations I suggested he contact Keith Coppage (“Roller Derby to Rollerjam”, “Bay Area Roller Derby”) who ran one of the most acclaimed arts program at Mt Diablo High School, and his productions were amazing. Of course Keith would like to mount a production, but after a few back and forths with Barry, realized it would be impossible.
On one of our conversations earlier this year I mentioned that he had put on his facebook page that Roller Derby the musical was dead. No comment. We never talked again. It was brought to my attention the other day that Barry had died…..I went to his facebook page and saw his last comment was on June 3rd. “Goodbye”. that is my birthday.
Barry was really a good guy, unbelievably talented, bright, and had so much to offer…..I guess I am just angry at him for the route he chose; of course he was entitled.
I have talked to Keith…..if we can round-up the music and book (slightly re-written by Keith), we would love to see a memorial production at Mt Diablo, maybe for a Barry Arnold room or chair or something. And just leave that for Barry.
I don’t know if I will every get over it.