The Gayland reading on Wednesday, February 15th in New York delighted the audience of 25 with plenty of laughter. The new “Young Buck/Old Buck” delivered lots of belly laughs by using classic operatic allusions to highlight the competition between Zack and Gaige during Zack’s first day on the job at the Willow Show. The new “#BringBackZack” came across as a bundle of joyful energy. And the audience named the revised “I Wanna See Your O Face” as its favorite song. Creators King and St. John were also able to see spots where new music wasn’t working as well, and in need of revision.
The learning overall was that the Gayland 6.0 revisions solved the earlier structural problems. So now there’s a sturdy scaffolding in place, and the next round of revisions will be fine-tuning particular musical pieces.
We’ve recast Gayland completely to make it reflect the current sociopolitical moment, and we’ve also redone a lot of the songs, with an eye to making them funnier. We’re currently organizing a Table Read for both Acts 1 and 2 in Manhattan in February.
After consultations with several Broadway experts, our Scene 3 song has now changed from “Don’t Forget Your Cock Ring” to “Don’t Forget Your Bible.” This must be the hardest 180 degree turn in revision history! : )
The Gayland writing team is meeting over the weekend to make edits to Act 1, based on what we learned from the recent Act 1 reading in NY. Thanks much to the audience and your varied and perceptive feedback. It’s really helping us make the choices required to slim down and add oomph to the first act.
Here’s our wonderful cast rehearsing one of the new songs, “Breeder Love Promo.”
Danielle Erin Rhodes
Troy Valjean Rucker
Gayland 5.0 is finished! Now with fun new characters like Bambi Krushjoy, the talent management attorney for Fox Worldwide.
Our plan is to have another table read in Manhattan very soon, with a small audience. Stay tuned!
We’ve just finished a whirlwind tour of Broadway, taking in seven of the current shows: some huge, some standards, some struggling. All of it was immensely educational, and the experience is helping us fine-tune the final drafts of Gayland 5.0.
We also had the opportunity to meet with a Broadway producer and an investor, who both offered valuable insider perspectives and expressed interest in seeing our next steps. There’s also the possibility of introductions to some key players, once we have this version finished.
In addition, we had the opportunity to check in with our growing family of creatives and actors that are helping to grow Gayland and have shown a keen aptitude for developing the characters and music.
Our goal is to have Gayland 5.0 done in the next 6 weeks, with table reads to come in the early fall.