Obscure Videos: A Roll of the Dice
Some of the show's failure can be attributed to the fact that composer/lyricist/co-librettist Simon, co-author Derek Walcott, and director-choreographer Mark Morris had no previous experience with Broadway musicals and were dealing with extremely tricky subject matter. Then too, those involved made the severe mistake of cancelling a regional tryout in favor of previewing cold on Broadway, a preview period that stretched to two months and was plagued by poor word-of-mouth.
The Capeman left a Simon-sung CD, and an excellent, double-CD Broadway cast recording that for some reason has never been released. It also left a fascinating television documentary, A Roll of the Dice: "The Capeman" on Broadway, that closely followed every aspect of the show's development. This ninety-minute program was televised in 1998 as part of the Arthouse series on Channel 4 in the U.K., but has never, to my knowledge, been aired in this country.
Directed and produced by Jeremy Marre and narrated by distinguished actor Michael Gambon, the program blends interviews with the show's participants; footage of auditions, rehearsals, and workshops; extensive live footage from the production; and archival footage on the show's subject, Salvador Agron, who, in 1959 at the age of sixteen, committed a brutal double murder. Agron became the youngest person ever sentenced to death, but that death sentence was revoked, and Agron spent twenty years in prison, during which time he rehabilitated himself and became a writer.
The documentary A Roll of the Dice: "The Capeman" on Broadway begins with the Broadway opening-night curtain call, then flashes all the way back to the beginnings of the writing process. Simon says that he sees the show as being about guilt and the possibility of forgiveness, while Nobel Prize-winning poet Walcott co-author of book and lyrics sees it as a story of redemption. Next we see casting director Bernard Telsey at auditions, and we meet some of the cast members, notably Ruben Blades and Marc Anthony, who would play older and younger versions of Agron.
Then we're at the first day of the 1996 workshop, when the show was being guided by the first of four directors, Eric Simonson. Simon states that the story of Agron, who was dubbed "the capeman," represents the time in which he grew up, which wasn't, he is quick to note, anything like Grease or "Happy Days." Simon cryptically states that, like Agron, he is a liar and a truth-seeker. He also notes that there were times when he came close to abandoning the project for fear of humiliation.
Simon is disappointed with the results of the workshop, and Simonson is let go, with Walcott taking over as the interim director. But the footage we are treated to makes it clear that Simon is exercising full artistic control over all aspects of the production, and could be considered a "director" of the show, no matter who else is in charge.
Some cast members are dismissed, including leading lady Priscilla Lopez, who was playing Sal's mother. Simon says the music was too tough for Lopez. Singing star Ednita Nazario joins the production, believing herself to be the first actress to play Sal's mother. Jan Maxwell is seen rehearsing a scene, but Maxwell would ultimately wind up in 1998's Broadway revival of The Sound of Music instead of The Capeman.
At last, Capeman choreographer Mark Morris, a distinguished figure in the dance world, moves up to the role of director-choreographer, even if the footage indicates that Morris is more comfortable staging the dances than directing the performances. Simon states that he wanted Morris to direct right from the beginning.
Bob Crowley's dazzling sets which include projections of the same Agron footage we see in this documentary wind up costing twice what was originally budgeted. Finally content with the latest choice of director, Simon concentrates on coaching the cast and orchestra in the music, seeking recording-studio quality every night in the theatre.
Michelle Rios, who plays Sal's sister, Aurea, in the show, and Marc Anthony pay a visit to the actual Aurea Agron, who says Sal always wanted to be famous. Simon and his team pay a visit to the Canadian Rockies to speak with Wahzinak, the Indian woman who was Sal's prison love and support. Spamalot Tony winner Sara Ramirez did well in the role of Wahzinak in the show. We meet the "umbrella man," Sal's co-defendant, who is interviewed with his face concealed. Meanwhile, the original prosecutor of the Agron case offers little sympathy for the show's central character.
We're told of the difficulties of raising the financing for the actual Broadway mounting. Simon admits that he has over a million dollars of his own money in the show. Finally, The Capeman is in previews at the Marquis, and is clearly not working. Simon believes that members of the Broadway community desire and eagerly await the failure of every production except their own. Producers Edgar Dobie and Dan Klores say their show has gone from being "highly anticipated" to "controversial" to "troubled." Co-producer James Nederlander Jr. says the show was bound to get a lot of criticism, and that no one in the business can pick a hit from a flop. Not helping matters is the picketing of the Marquis Theatre by those who object to turning Agron's story into a Broadway entertainment that they accuse of glorifying murder.
Even before previews began, the lead producers had begun to feel that things were not going well. Mark Morris maintains that he can get the show in shape by the opening. But the producers woo Jerry Zaks to come in and become the show's fourth director, with Joey McKneely providing additional choreography. Zaks and McKneely will receive no billing, with Morris retaining full credit.
We see the opening-night gypsy robe ceremony it goes to John Jellison, and then it's on to the poisonous reviews and quick closing. Blades says that the show did not deserve the "murderous rage" of the critics, and believes it happened because Simon "pissed a lot of people off." Simon says that some of what he has gone through has been rewarding, some of it has been distasteful, and all of it has been a learning experience.
It's hard to understand why A Roll of the Dice: "The Capeman" on Broadway was never televised here. But then it's equally difficult to understand why that Capeman cast album has never been released.