For the 1997-98 theater season, I was the company manager for
Playwrights Horizons, the 33-year-old off-Broadway repertory company. Devoted to new work by American writers, Playwrights is one of the most important arts organizations in New York and has produced original works from Sondheim to Durang (including Christopher Walken in a musical version of James Joyce's
The Dead (you had to see it.))
As with most top-notch organizations, the interns were the sort of overwhelmingly talented folks that end up running the place by the end of the season.
Bobby Lopez was a soft-spoken, bright-eyed composer who was the intern assisting Artistic Director Tim Sanford. Bobby worked a few feet from me and it was a while before he let me hear any of the music he'd composed.
Bobby's favorite musical milieu was not the Loydd-Webber-spectacular nor the Sondheim-drama, but rather... puppets.
His composition were fun and funny, musically captivating and uniquely clever. But I knew full well that nobody would ever put any real money behind puppets, and I quietly hoped that Sesame Street or Nickalodeon would pick him up.
So...
As it turns out Bobby, and his writing partner Jeff Marx, won the Tony Award for Best Original Score for "
Avenue Q," the story of Princeton, a bright-eyed college grad who comes to New York City with big dreams and a tiny bank account.
Here's a picture of Bobby and Jeff, taking a picture of themselves on stage with LL Cool J and Carol Channing, on-stage at the Tonys:
I couldn't be happier for Bobby. I'm glad there are producers that have greater vision than I.
I'm very pleased to have been so wrong!