The last time I was gainfully employed in a play was at the end of 2009, for another show I wrote (with Jake Broder) called "Louis & Keely: Live at the Sahara." The show had been going nonstop since May 2008, and it seemed incapable of ending. My partner and I turned down other acting jobs in anticipation of our show moving forward at a fast pace. Little did I know it would take as long as it has. I can understand now why shows like "Memphis" can take five years to get to Broadway. With so much on the line, it can take months to negotiate a contract, line up perfectly with a LORT season, and find the right team of people to move the project forward. People ask, "What's happening with 'Louis & Keely?' " I can only say, "It's complicated, but it's still alive."
While I was learning how complicated the business side of show biz could be, I fell into a slight depression as 2010 came and went without much movement forward. It was then I realized that the only thing I could control was myself. I needed to keep growing and accomplishing something in my time between gigs. I started singing jazz in small clubs around town. Much to my own surprise, I started running, more because it's something I never thought I could do. I started getting my confidence back because I was working on myself and developing a discipline. I decided that while "Louis & Keely" was still mired in legalities, I was going to write another show.
"Stoneface" may or may not be as successful as "Louis & Keely." I might have an indicator in a couple of hours as I wait in front of my computer screen. While I'm proud of it and the work within it, I can't control what the critics will say. I hope it has a life beyond this theater. But if it doesn't, I will continue to try to find the peace in my in-between time. It's the only way I can stay sane.
