Derby Spotlight had the honour of interviewing Barry Arnold about ROLLER DERBY – The Rocking Rolling Musical. Barry is the book writer / co-lyricist and principle promoter of the project. Barry also built this wonderful show with a legendary production staff that includes Roller Derby historians and famous broadway composers. So grab a soda, and a bag of popcorn to munch on while you enjoy reading all about ROLLER DERBY – The Rocking Rolling Musical!

[Roger Foley: Q1] How did you arrive at the idea of creating a musical regarding Roller Derby and recruit such an experienced production staff?

[Barry Arnold: A1] John Braden and I first got together in about 1978 to explore writing a musical together. It was John who first mentioned Roller Derby, and we both immediately sparked to the idea.

We actually knew very little about the sport then, other than having seen it on TV as kids, but we soon began to research the subject and found what we believed was a perfect world in which to set a musical comedy.

[Roger Foley: Q2] How did you meet Jerry Seltzer and how did he help you to finalize the script, lyrics, or other aspects of the production?

[Barry Arnold: A2] As John and I began our research on the game in the days before the internet, we went to the library and spent many hours scrolling through microfiche about the sport. We soon learned of the Seltzer family’s connection to Derby and realized that it would be great to speak with Jerry to learn as much as we could about the skaters and their life. Unfortunately, we had no idea how to reach him.

I had discovered however that there was a Roller Derby Skate Company, run by an Oscar Seltzer, and decided to try calling there. I reached Oscar and explained to him that we were writing a musical about the Roller Derby and that we would like to speak with Jerry Seltzer, and naively asked if he worked there. When Oscar said no, I asked for a number where I could reach Jerry, to which he replied that he would have to check with Jerry first and he would get back to me. I remember John and I thinking that we probably would never hear from him, but were amazed when a few minutes later Jerry himself called.

We had a long conversation and were full of questions. Jerry told us that he would be happy to arrange interviews for us with some of the Derby’s famed skaters, who mostly lived in San Francisco and Los Angeles. Right then and there John and I, who both lived in New York City, decided we need to make a trip to California as soon as possible. We scraped together what little money we had to buy the tickets and pay for the hotels and off we went.

What a trip it was too. We not only met and interviewed Jerry, but in San Francisco Ann Calvello and Buddy Atkinson, then down in the Los Angeles area, the “golden girl” Joan Weston, as well as several other skaters. The Seltzer’s Roller Derby had just shut down a few years earlier, so we got an earful about what had brought the sport to an end, but more than that we discovered the enormous love the skaters had for the game and the Derby life on the road.

Jerry also gave us several books and articles to read including Frank DeFord’s classic, FIVE STRIDES ON THE BANKED TRACK, and Herb Michelson’s excellent book of Roller Derby profiles, A VERY SIMPLE GAME, as well as an award winning documentary Jerry had produced called DERBY. Now armed with the books, video and interviews, John and I were ready to write our first draft of the show, and we eagerly set to work.

[Roger Foley: Q3] Your first run was in September of 2007 as a part of the New York Musical Theater Festival at the Alvin Ailey Theater in New York City. I have read a lot of independent reviews raving about how wonderful it was. In your opinion, how was the first run?

[Barry Arnold: A3] Actually the 2007 production was not the first presentation of the show. After completing our first draft in 1979 we approached THEATER FOR THE NEW CITY to do a workshop production, which was put on there in January of 1980 for 12 performances in a 99 seat theater.

Although the show wasn’t fully developed yet, the audiences were enthusiastic, as were the reviewers. Within a few weeks, we found ourselves talking to famous producers who wanted to option the show for Broadway. We couldn’t have been more excited. After much soul searching, we settled on one, who seemed the most enthusiastic. Checks started coming in as we went about the business of rewriting. And the checks kept coming, but unfortunately no production.

We pleaded with the producer and his management team to please put the show on, but were met with deaf ears. Eventually, John and I made a tough decision to sever our ties with that producer. We then tried bringing the show to other producers who had shown interest at the time of the production, but time had intervened and we received no offers. Disheartened, John and I put the show on the shelf for a while.

Then in 1983, I received a call from an actress who had been in the cast at THEATER FOR THE NEW CITY. She was now living in Los Angeles and felt that that there were theaters there that would welcome the opportunity to do another workshop on the West Coast. Very much still in love with the material, the sport, and the skaters I had come to admire so much while writing the show, I headed out to Los Angeles filled with the dream of getting a production going again.

While trying to find a producer for the show in Los Angeles, I began reexamining the script, and quickly realized that more emphasis needed to be placed on the women in Roller Derby. Over several months I developed a new story that stressed the rivalry between a tough new rookie on the team and the reigning Roller Derby Queen. When they script was completed, Jerry introduced me to a director who owned the 99 seat Zephyr Theater on trendy Melrose Avenue, and once again we went into rehearsal for a workshop production. The audience and critical reaction was terrific and before the run was over we received another option for a full production.

Ron Field, the legendary choreographer of CABARET, and director of APPLAUSE on Broadway, as well as many others, had seen the show during the Los Angeles workshop, loved it, and after expressing interest in directing and choreographing joined our team. Back in New York, John and I went to work with Ron to hone the script and music further.

Unfortunately, our great plans were not to be. It was the early days of the AIDS epidemic. Both John and Ron became ill, and eventually died of that terrible disease, leaving the script in limbo. There was an attempt at a small production in San Francisco, which without my involvement went in the wrong direction. My hopes for the show dashed, I put the script on the shelf and went on to other projects.

Then in 2007, out of the blue, Jerry Seltzer called saying, “Now is the time for that show of yours.” We talked about the new popularity the sport was having with the emergence of Flat Track Roller Derby, and how it was poised to become bigger than it had ever been before. Intrigued, I searched for the script and music, dusted away the cobwebs, and looked at it seriously again. I immediately was reminded of how well the show could work, while seeing some areas where there could be improvements.

However, before being able to do the show, I would have to find someone who could take on John’s role as composer. At the time, I had been working with Harold Wheeler on another show, and asked if he would read the script and listen to the music. A few days later I heard back from Harold, who thought the show had enormous potential and agreed to become the show’s new composer.

After reworking the script and music we submitted the show to the New York Musical Theater Festival, and were delighted when out of hundreds of submissions we were accepted to participate in the Festival. As previously, this would be a workshop production, which would give Harold and I a chance to see our work on its feet to assess what further work might be needed. During the 12 performance run, we received enormous encouragement from enthusiastic audiences and theater professionals, but Harold and I felt that more work was needed before the show would be ready for full production.

Today in 2011, that work has now been completed, and we feel fully ready for ROLLER DERBY – The Rocking Rolling Musical to be professionally produced.

[Roger Foley: Q4] Can you tell us what the story and theme of the musical is and what the story is based on?

[Barry Arnold: A4] The basic story, set on the road in 1962 at a time when the sport is struggling to survive, tells of an ambitious tough teen up from the mean streets of New York, who challenges the sport’s beloved but aging star in an all out battle to become the reigning Roller Derby Queen.

Promoted by the game's wheeler dealer manager, the pair tears up the track, rockin' and rollin' with the ten decidedly colorful gals and guys on their team, famous to fans across America as the world champion Bombers. Along the way, the kid meets her match, discovering more than she ever dared to dream about life, love and how the game is played.

The story is based on the actual Bombers of that era and the struggles they faced on the road, with the characters drawn from the stars of the time, including green haired Ann Calvello, the golden girl Joan Weston, superstar Charlie O’Connell, Sugar Ray Robinson’s son Ronnie Robinson, the great Toughie Brasuhn, Ken Monte, Buddy Atkinson, as well the many other remarkable skaters, and of course Jerry Seltzer himself.

Among the show’s themes are: What it takes to be part of a team and an extended family. How an older athlete comes to grips with aging. The diversity that was and still remains the heart of Roller Derby. Life’s realities on the road. Overcoming childhood trauma and anger. Celebrating women in a contact sport where they are on an equal footing with men. And ultimately the skaters love for each other and of a game that means so very much to them.

[Roger Foley: Q5] What is your favorite review or piece of feedback of the show and by whom?

[Barry Arnold: A5] I would have to say it’s a tossup between the review in the Village Voice after our first production, “The last time I saw a small musical this good I was in Chicago and it was called GREASE,” and when the Los Angeles Daily News said, “ROLLER DERBY is clearly a winner! Most shows aren’t half as entertaining and clever as this lively and ingratiating new musical.”

On a personal level it was when E.Y. Harburg, the man who wrote SOMEWHERE OVER THE RAINBOW, told John and I after seeing the show how very much he liked it.“

[Roger Foley: Q6] As an accomplished Broadway Lighting Designer, Producer, Writer, Director, and Theming Consultant, having designed the lighting for the original productions of GODSPELL, BUBBLING BROWN SUGAR, as well as JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, and as a member of the creative teams for many world renowned architectural projects and themed attractions, among them The New Year’s Eve Celebrations in Times Square, what staging concepts did you incorporate into the script, and what would you like to add in future presentations of the musical?

[Barry Arnold: A6] Our primary concern was featuring the team and the choreography, so we decided early on against traditional scenery. The show is presented in a neutral “dance space” framed by black masking. Setting the scenes on the deck are the “bus,” which consists of rolling platform with bus seats, as well as real lockers and benches.

There is a large video screen upstage onto which projections set not only the locations for the scenes, but images of the fans and Roller Derby track action as well. A black curtain behind the screen can open to allow the “Bus” and the team to enter from center at times.

[Pictured left: Bomber's member rocks out a tune to the audience in one of Roller Derby the Musical's scenes. Photo courtesy of rollerderbythemusical.com]

Perhaps not surprisingly, with my lighting design background, the theatricality of the show’s look comes from the lighting, which is highly kinetic, and of course the costumes that evokes not only the uniforms of The Bombers, but the often kooky fashions of the early 60’s.

[Pictured right: A project photo of Barry Arnold's work from Phuket Fantasea stage show. barryarnoldassociates.com]

Regarding what I might like to see added in the future for a full production, perhaps a big LED screen upstage that can change configurations might be nice, and I would be interested to see what a scenic designer could do with adding trusses and elements that give the feel of the multiple arenas the Bombers play throughout the show.

[Pictured left: A project photo of Barry Arnold's work from Phoebus. barryarnoldassociates.com]

However, above all, I would hope that the look always remains uncomplicated, with the emphasis on the skaters, rather than on scenic elements, not just because it helps tell the story in a theatrical way, which it does, but also so that the show will always be easy to mount for touring, regional, school, and community productions.

[Roger Foley: Q7] How intense is the choreography for the show and does the entire cast where quad skates on stage?

[Barry Arnold: A7] Yes, all the skaters wear traditional Roller Derby quad skates, which are contemporarily accurate for the show’s 1962 period. In regards to the choreography, ultimately, ROLLER DERBY is a dance musical. The track action is created not by traditional derby skating on a banked track, but by highly stylized choreography that uses the vocabulary of the sport’s skating action to create the feeling of the game in a uniquely theatrical way.

The games, races blocking, and fights are evoked by the performers movements, which of course are enhanced by the skates they wear, and the actions their wheels make possible. While there is some trick skating involved, and at times circular skating, for the most part the movement takes of advantage of the wheels on the performers feet, combined with the vocabulary of dance to create the feeling of being on the track,as opposed to actually skating on one.

It could be said that the skates operate as individual treadmills, giving the appearance that the skaters are moving quite fast, while in fact they remain in relatively confined spaces. This being a musical about Roller Derby, the evocation of the pack becomes an important metaphor within the dances for the lessons the rookie Joy must learn to become a member of the team.

Through a combination of staging and lighting, cinematic slow and speeded up action is also thrillingly created in a live action piece. When all is combined, audiences witness a show that brings the excitement of Roller Derby to the stage in a brand new way.

[Roger Foley: Q8] I recently read some of Jerry Seltzer's blog (http://www.jerryseltzer.wordpress.com/) he writes on how he enjoys modern day roller derby and is a fan attending many bouts currently. Do you follow his praise and enjoyment of today's contemporary roller derby, and if so, what factors do you like the most about the sport today?

[Barry Arnold: A8] Oh yes, I’m definitely a fan of today’s Roller Derby, and thrilled that the game has become the world’s “fastest growing sport” over the past few years. What I love most about it is the enthusiasm of the skaters, who’s joy at being on the track is truly infectious.

[Pictured right: A photo of today's modern Roller Derby in action. Hammer City's Harlots vs. Death Row Dames bout.]

Of course with my theatre background, I’m also attracted to the theatricality displayed by the team’s and players names and uniforms. The “Derby Love” displayed by all involved in the sport today truly makes attending a bout intoxicating.

Through Facebook I’m very much in touch with many of today’s skaters, and find their spirit, as was that of the old time derby folks, to be the most compelling element of the sport.

[Roger Foley: Q9] How long have you been a fan of modern day roller derby and what is your current favourite team and player?

[Barry Arnold: A9] Pretty much from the beginning, when I first became aware of the the Flat Track Roller Derby movement in the early years of the Millennium. As for naming a favorite team and player, let me just say that I love them all.

[Pictured left: Another photo of today's modern Roller Derby in action. Hammer City's Harlots vs. Death Row Dames bout.]

[Roger Foley: Q10] In the decades before the birth of modern day roller derby what was your favourite team and player?

[Barry Arnold: A10] Team, definitely THE BOMBERS. Players, I’d have to say both Ann Calvello and Joan Weston, both of whom I had the pleasure, thanks to Jerry Seltzer, of getting to know and interviewing for the show.

[Roger Foley: Q11] John Braden and Harold Wheeler composed the score for the musical. John Braden was a spectacular composer and lyricist wining many ASCAP awards, three golden records, and many other accolades in his life. And Harold Wheeler, current musical director for ABC's and CTV's Dancing with the Stars, is a legendary composer with many world renowned productions such as Broadway’s Hairspray and Dreamgirls, the Academy Awards 76th ceremony, and also one of the composers for the 1996 Summer Olympics. Wheeler also received a Lifetime Achievement Award from the NAACP Theatre Awards in 2008. How did you first meet these gentlemen and how does the passion of the sport shine through in their score for the musical?

[Barry Arnold: A11] I first met John when I was designing the lighting for an earlier show for which he had composed the music. As we became friendly, I asked if he would read a musical I was writing the book for at the time.

A few days later he told me how much he enjoyed it, and would I be interested in collaborating with him. A few days later our collaboration of ROLLER DERBY began.

Harold and I met through mutual friends. I had an idea for a show for which Harold seemed perfect. I sent him the script to read, and after he liked it, we began working together on HOT NUTS.

A few years later, when Jerry approached me about doing ROLLER DERBY again, I asked Harold to read it and listen to the score. He thought it was very exciting and immediately agreed to take over where John had left off with the show’s music years before.

[Roger Foley: Q12] What is your personal favourite part of the Musical?

[Barry Arnold: A12] That’s hard to choose, but if I had pick only one, I suppose it would be the dramatic match race between Joy, the young up and comer, and Marge, the aging green haired Roller Derby Queen.

[Roger Foley: Q13] Who is you favourite character in the show and what does that character do to inspire you?

[Barry Arnold: A13] Again, a difficult choice, I think I would have to pick two.

Marge Brandt, the resilient Roller Derby Queen, for her embodiment of Roller Derby’s heart, and Joy Costa, the tough teen, up from the streets of New York, who has so much to learn before she can truly become a member of the team. It’s the interaction between these two very interesting characters that provides the basis for the show’s story.

[Roger Foley: Q14] When and where would you like to tour the musical next and what are some of the major roadblocks to preparing the musical's next run?

[Barry Arnold: A14] It has been my dream for some time now for the show to tour everywhere that modern Roller Derby is being played. Of course, we wouldn’t mind seeing the show done on Broadway, but to us it seems appropriate that a show about a Roller Derby team on the road first find its legs, so to speak, on tour across the nation and perhaps the world. In addition to the US, we’ve gotten a great many inquiries from Australia, New Zealand, South America, the UK and Europe about when the show might come there. It’s our hope that we can soon find producers in those regions to make that possible.

We are also very interested in having regional groups, schools and theaters do their own productions of the show. We’ve received correspondence from several organizations saying they would like to do productions, but so far none have moved to the next stage of actually making it happen. As it takes time schedule productions, perhaps we will see these move forward in the coming year.

As I see it, there are several major roadblocks to getting a professional production on the road. The primary one of course is money. The cost of mounting a touring musical these days can be daunting, although it should be said that ROLLER DERBY is a relatively inexpensive show to produce. Secondly, but equally important, is raising the interest of a qualified producer, or producers, as well as investors, who are as enthusiastic about the show and subject matter as we are. Again, several have approached us, but to date unfortunately none have taken the next step to start putting a production together.

A third that has been troubling is not having the funds to record a great demo of the show’s music. The only recordings we have now are of live performances captured on a hand held cassette recorder from the back of the house.

What we need are the funds to gather a group of great singers and musicians in a professional recording studio. Alternatively, perhaps a university music or theater department might want to record a demo as a project for their musical theater program. Either way, these recordings would be a much needed tool that would go a long way toward helping to find producers and finally getting ROLLER DERBY on the road.

[Roger Foley: Q15] Where can people who are interested learn more about the show?

[Barry Arnold: A15] To learn more about ROLLER DERBY – The Rocking Rolling Musical, we invite people to view our website: http://rollerderbythemusical.com, and to get the latest updates on productions and meet other fans of the show, we can be found on Facebook at http://www.facebook.com/pages/Roller-Derby-The-Rocking-Rolling-Musical/137525652956817

Of course, we’re always interested in hearing from anyone who might be interested in producing either a professional or amateur production of the show. They can easily find our contact information, as well as request a free link to download the show’s script and music, on either of the sites mentioned above.