See why the audition for the new Broadway production of ‘The King and I’ is so much more than a role for a man of letters
“A few weeks ago, I sat in an auditorium, with two dozen people, watching ‘The Book of Mormon’ and reading aloud what I believed to be the story of Abraham.”
A few weeks later, I had my first auditions.
I walked into the room and was given the script, along with a blank piece of paper.
“It’s a very basic script,” the head of the production, David K. Greenberg, told me.
That was not my first audition. “
Greenberg told me, “We are going to take all the things we learn in rehearsal, and use them to tell the story that we want to tell in the play.
“That was not my first audition.
I had been auditioning for several other parts before.
I thought I would be the best candidate for the part of the king in “The King’s Tale.”
But my audition was a complete flop.
“We’re not going to do this.” “
This is an audition script for a play,” Greenberg said.
“We’re not going to do this.”
Greenberg was right.
The audition was completely useless.
The story was terrible.
The characters were terrible.
And the play was terrible in every way imaginable.
“That was the hardest part of my audition,” I told Greenberg.
“I could feel the tension in the room.”
I was so upset that Greenberg had called me out on my performance that I asked him to stop the audition.
“What are you saying?”
I was angry that I had never gotten the opportunity to play the king and that I hadn’t even been offered the role.
“Don’t you get it?
You’re the king, and you have a role.
We can’t give you a role because you’re a man.”
I could feel that this was my audition for a bad role, not the best role.
I felt humiliated.
Greenberg didn’t take that well.
I got angry and told him, “You’re making me feel bad.
I don’t want to be this guy.”
But Greenberg didn.
He said, “I’m a big fan of your work.
But you know, I just don’t think this will be the right script.”
He told me to read the rest of the script.
“And you’ll have to write something else.”
Greenberg said, “”You can do that.
I know what you want to do.
“Greenberg then said, in the tone of a grown man: “I don’t care what you think.
“”What’s wrong with writing something else?
“No, I’m just saying you can’t do that.” “
Because I’ve seen it done,” Greenberg replied.
“No, I’m just saying you can’t do that.”
So I got a job at Playwright Horizons.
I worked in the theater department for three years.
I did everything that was asked of me: rehearsals, auditions and auditions again.
And that was it.
I could not believe it.
“In the play, Abraham is a king, but the story doesn’t feel that way,” Greenberg told his employees.
“He’s a man who’s always been a king.
But the story in the story is always about how his son dies.
And in the history of the world, people are always dying.
So it’s about the story about Abraham’s son, which is never the story.
It’s always about Abraham being king.
And you know what?
That’s the story.”
I think that Greenberg is right, and that what people want is to be able to tell their own story and not have to pretend that they are the king.
I think it is important to know that this is a play about Abraham and his son, not his son and his grandson.
But this is also a story about us, the writers.
And what I really wanted to know was, is there anything about the play that makes it different from the rest?
The production had not been written yet, and I knew that Greenberg was a big proponent of writing plays for the stage.
So I asked a producer, who was the head director of the stage production, if he thought the play could be written as a stage play.
The producer said, no.
“There is a certain tension between what is a story and what is fiction, and this is where the play comes in.”
He agreed with me, saying that it was important for the writers to have a real sense of the play.
He told the producers, “This isn’t going to be a story.
This is going to tell a story.”
So the play is a series of chapters, each with its own story