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The Dangerous Beauty Diaries Part I: From Academia to Hollywood
Mounting a new musical work is a long and often arduous process requiring an unflagging commitment on the part of its creators. LA STAGE Times was given permission to witness the process Dangerous Beauty underwent in the final months leading up to its world premiere opening at the Pasadena Playhouse on February 13, 2011. This is the first in a three-part series of articles prepared via interviews with producers, the creative team and cast, as well as onsite reporting that began with the first group sales presentation in October 2010.
January 2011. It’s been a balmy 76 degrees in Pasadena, the kind of weather Tournament of Roses Parade promoters have touted since the Valley Hunt Club dreamed up the now iconic event in 1890 to sell their snowbound East Coast brethren on wintering in the “Mediterranean of the West.” The moniker is particularly prophetic as competing sets of street light banners currently line the city’s Arroyo Parkway promoting two shows set in Renaissance Italy: “Beauty & Power” at The Huntington and the world premiere of Dangerous Beauty at the Pasadena Playhouse.
While the Huntington exhibition deals with bronze sculptures, its title neatly encapsulates the dueling themes running beneath the playhouse’s musical depiction of the famous 16th century Venetian courtesan/poet Veronica Franco. The February 13 opening of Dangerous Beauty officially signifies the rebirth of the recently bankrupt Pasadena Playhouse as a producing entity.
Written by Jeannine Dominy, with lyrics by Amanda McBroom, music by Michele Brourman and directed by Tony Award nominee Sheryl Kaller (Next Fall), it stars Jenny Powers (Grease) as Franco. Other principal cast members are James Snyder (Crybaby) as Marco, Bryce Ryness (Hair) as Maffio, Laila Robins (Heartbreak House) as Paola, Michael Rupert (Sweet Charity) as Domenico, Megan McGinnis (Daddy Long Legs) as Beatrice, John Antony (Passion) as Pietro and Morgan Weed (Next to Normal) as Giulia.
Franco’s rise and fall within Venice’s literary salon society was, until recently, an obscure historical footnote.  She reigned as both a star attraction and an acclaimed confidante to the floating city’s most powerful men. But war with the Turks, bubonic plaque and the Inquisition conspired to strip her of both position and property.
The 1992 publication of Margaret F. Rosenthal’s award-winning scholarly biography The Honest Courtesan ignited a modern-day fascination with her story, which led to a 1998 film entitled Dangerous Beauty, written by Dominy and starring Catherine McCormack, Jacqueline Bisset, Rufus Sewell, Oliver Platt and Fred Ward. Though not considered a commercial box office success, the movie developed a cult following in the ensuing years especially among young college-age women such as future DB producer and Tony nominee Tara Smith (Xanadu, You’re Welcome America: A Final Night With George W. Bush, The Seagull).
Lyricist/singer/songwriter McBroom (Golden Globe winner for “The Rose”) caught the film during its initial release and instantly saw its potential as a musical in the genre of Phantom of the Opera and Les Miserables. She asked singer/songwriter and longtime collaborator Michele Brourman (“My Favorite Year”) to confirm her judgment. After viewing the once fiercely feminist tale now squeezed into a sumptuous studio-sanctioned love story, Brourman agreed.
Three years later McBroom brought the project to veteran Los Angeles (Canon Theatre, Reprise Theatre Company) and New York producer Susan Dietz (three time Tony winner Fela!, The Little Dog Laughed, Topdog/Underdog). The two were longtime friends who had worked together doing Jacques...
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Mounting a new musical work is a long and often arduous process requiring an unflagging commitment on the part of its creators. LA STAGE Times was given permission to witness the process Dangerous Beauty underwent in the final months leading up to its world premiere opening at the Pasadena Playhouse on February 13, 2011. This is the first in a three-part series of articles prepared via interviews with producers, the creative team and cast, as well as onsite reporting that began with the first group sales presentation in October 2010.
January 2011. It’s been a balmy 76 degrees in Pasadena, the kind of weather Tournament of Roses Parade promoters have touted since the Valley Hunt Club dreamed up the now iconic event in 1890 to sell their snowbound East Coast brethren on wintering in the “Mediterranean of the West.” The moniker is particularly prophetic as competing sets of street light banners currently line the city’s Arroyo Parkway promoting two shows set in Renaissance Italy: “Beauty & Power” at The Huntington and the world premiere of Dangerous Beauty at the Pasadena Playhouse.
While the Huntington exhibition deals with bronze sculptures, its title neatly encapsulates the dueling themes running beneath the playhouse’s musical depiction of the famous 16th century Venetian courtesan/poet Veronica Franco. The February 13 opening of Dangerous Beauty officially signifies the rebirth of the recently bankrupt Pasadena Playhouse as a producing entity.
Written by Jeannine Dominy, with lyrics by Amanda McBroom, music by Michele Brourman and directed by Tony Award nominee Sheryl Kaller (Next Fall), it stars Jenny Powers (Grease) as Franco. Other principal cast members are James Snyder (Crybaby) as Marco, Bryce Ryness (Hair) as Maffio, Laila Robins (Heartbreak House) as Paola, Michael Rupert (Sweet Charity) as Domenico, Megan McGinnis (Daddy Long Legs) as Beatrice, John Antony (Passion) as Pietro and Morgan Weed (Next to Normal) as Giulia.
Franco’s rise and fall within Venice’s literary salon society was, until recently, an obscure historical footnote.  She reigned as both a star attraction and an acclaimed confidante to the floating city’s most powerful men. But war with the Turks, bubonic plaque and the Inquisition conspired to strip her of both position and property.
The 1992 publication of Margaret F. Rosenthal’s award-winning scholarly biography The Honest Courtesan ignited a modern-day fascination with her story, which led to a 1998 film entitled Dangerous Beauty, written by Dominy and starring Catherine McCormack, Jacqueline Bisset, Rufus Sewell, Oliver Platt and Fred Ward. Though not considered a commercial box office success, the movie developed a cult following in the ensuing years especially among young college-age women such as future DB producer and Tony nominee Tara Smith (Xanadu, You’re Welcome America: A Final Night With George W. Bush, The Seagull).
Lyricist/singer/songwriter McBroom (Golden Globe winner for “The Rose”) caught the film during its initial release and instantly saw its potential as a musical in the genre of Phantom of the Opera and Les Miserables. She asked singer/songwriter and longtime collaborator Michele Brourman (“My Favorite Year”) to confirm her judgment. After viewing the once fiercely feminist tale now squeezed into a sumptuous studio-sanctioned love story, Brourman agreed.
Three years later McBroom brought the project to veteran Los Angeles (Canon Theatre, Reprise Theatre Company) and New York producer Susan Dietz (three time Tony winner Fela!, The Little Dog Laughed, Topdog/Underdog). The two were longtime friends who had worked together doing Jacques...