According to Signature’s Artistic Director Eric Schaeffer, the e-mail campaign marks the first time the company has attempted such a systematic advance release of material from a new show. In part, the move recognizes the difficulties of launching a made-from-scratch musical in a day when myriad distractions, from Twitter to “Smash,” compete for the public’s attention.
But the promotional push also represents a gesture of enthusiasm for composer Rowe and book author/lyricist Dempsey, whose previous musicals “The Fix” and “The Witches of Eastwick” played at Signature in 1998 and 2007. The two artists, who met years ago at Ohio State University, have gone separate ways at times, teaming with other collaborators, but Schaeffer relishes the daring and inventiveness of their joint projects.
In tandem, the two “will try things that other writers won’t,” the artistic director says.
Rowe and Dempsey agree their creative operating modes sync up unusually well, and the fit has only tightened over the years. “You can get to a deeper place because of the time you’ve spent together,” Dempsey says.
This new venture has origins in Queens, where Dempsey lived some time ago. A 94-year-old neighbor of his made daily trips to the grocery store on foot, using her walker, even in winter. The writer found himself marveling at the woman’s determination.
“I wake up with a hangnail and my day is ruined,” says Dempsey, who’s 47. “And here’s this 94-year-old woman trudging through a foot of snow to go to the market.”
Several months later, he was watching the “Pine Barrens” episode of “The Sopranos,” in which an injured Russian escapes execution by mobsters. A line in the script compares the man to the famously hard-to-kill Rasputin. “Rasputin as a symbol of getting on with life — life when it’s being taken away from you — I thought that was interesting,” Dempsey recalls.
That image of perseverance began to dovetail in his mind with the show-must-go-on philosophy of theater itself. Further spurred by his readings in Russian literature, Dempsey conceived of the scrappy thespian characters in “Brother Russia” who are prone to dramatizing Chekhov and Tolstoy on a bare-bones budget in a fairy-tale-haunted world.
Rowe was keen on the concept, which conjured up the sounds of “progressive rock with a little bit of Rachmaninoff thrown in,” as the 55-year-old composer puts it. But the duo despaired of interesting commercial producers in such an offbeat idea, so they relegated it to the back burner. Then Schaeffer, eager to lure the partners back to Signature, offered to mount any musical they devised.
“You don’t get offers like that every day,” Dempsey points out.
Plunging into the Russia project, the two New Yorkers revived a favorite tactic: recording demos of new songs with friends as vocalists. Such demos provide perspective — they’re a way “to get our [own] voices out of the mix,” Rowe says — but they had previously been private resources.
But Schaeffer, who is directing “Brother Russia,” saw an outreach opportunity. After all, theatergoers these days are “not always as willing to take as many chances as they were before, because of the economy,” Schaeffer notes. Supplying an upfront music sample seemed a way to build enthusiasm for a show that was an unknown quantity, lacking the kind of familiar source material (the ’80s tunes in “Rock of Ages” or the movie-derived plot of Broadway’s upcoming “Ghost: The Musical”) that can be seen as an audience draw.
There was no time to record advance tracks with the real “Brother Russia” cast; rehearsal minutes were too precious. And besides, Schaeffer thought the “rawness” of the demos might excite potential ticket buyers, who would feel included in a bold artistic gamble.
Schaeffer, Dempsey and Rowe chose songs with stand-alone potential: the gospel-flavored anthem “Siberia,” the Slavic music-hall ditty “Vodka” and “Child of the Wood,” a plaintive incantation that veers “to a rock ‘Carmina Burana’ place,” in Rowe’s words. Necessary permissions obtained, the demo versions were readied for an e-mail blast. (Signature also distributed more than 300 CDs of “Brother Russia” songs to patrons of the theater’s recent “Hairspray” and current “Really Really” productions.)
Shortly before the campaign kicked off, Rowe felt “crazy nervous about it.” After all, integrating a musical’s songs with its book has been an industry goal at least since 1943’s “Oklahoma!” Disseminating new numbers without context would seem to flout that tradition.
“It’s like sending a child out and saying, ‘Now let the world decide what they think of the child,’ ” Rowe said.
Initial responses came back positive. After the drop of the first song — the rock-and-roll opener, “Brother Russia Presents”— box office calls and ticket sales spiked, Signature reports.
If all goes well, the experiment will enhance the chances of a musical that, Dempsey wants to stress, is no Rasputin bio-drama. “It’s a rollicking, raucous show — a fun show,” he says. “It has very little relationship to history.”
Tuesday through April 15 at Signature Theatre, 4200 Campbell Ave., Arlington.
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