Four years go so fast. Exactly four years ago, I was assistant directing on the Lincoln Center Theater production of A Man of No Importance. It was the first musical I was working on with colleague and dear friend Joe Mantello. I had worked on two readings of it previously and chose it over another little musical he was directing (you may have heard of it) ... Wicked. I will never regret the decision. This, to me, is musical theatre at its best. We had high hopes for this beautiful new show, and the audiences were enthusiastic and touched. I was certain it would be embraced and enjoy a long run. In a sea of musicals that bedazzled, exploded, slapschticked, and tap-danced downstage in a fevered effort to entertain, this show would be a welcome change: a simple, poetic story with exquisite music and lyrics, and rich, compelling characters. Well, you can see this coming, I'm sure. The notices were decidedly mixed, and the all-powerful troll at The New York Times dealt us a heavy blow. I was — we all were — shocked. The notice I like to remember is Linda Winer's end-of-season praise: "I trust that history will discover the merits of the underestimated A Man of No Importance, the Terrence McNally—Lynn Ahrens—Stephen Flaherty show, which I consider the best traditional musical of the season." I urge you to join us-perhaps more strongly than I ever have or ever will. It's difficult for us to take chances on lesser-known scripts. People tend to go see the shows they've heard about or are familiar with. Big Broadway box office is usually big box office for us. This show is a risk. You're probably not familiar with it. I hope you will be. This is a show that explores why we in the theatre do what we do and how we are all capable of embracing differences. You will love it. The Irish flavored score is lush and runs from sentimental to stirring, and the book is by the brilliant Terrence McNally. Our cast has big shoes to fill — in my mind, having seen the New York cast 100 times — and they're doing an amazing job. We have a perfect set and a master musical director. What we need is an audience. Please come and join us in a small church parish hall in Dublin, 1963. Come see what I was so proud of in New York and am so proud to bring to you this fall. Let Civic keep bringing you the good theatre you didn't get the chance to see in New York: the not-so-well-known moments ... the plays and musicals that are some of the best experiences of our lives ... the beautiful works of art. It's funny, too! Does that help? See you at Civic. -b Feature Article Meet The Cast Links 2006-07 Mainstage season