Really, must-see theater can come from must-not-see movies.
Case in point: “Xanadu,” which Arizona Theatre Company opens in previews Saturday.
It’s based on the 1980 movie of the same name, a movie so awful that it is one of the films that inspired the first Razzie awards, given for the “worst Hollywood has to offer.” One review said simply, “Xana-don’t.”
“Xanadu,” the movie, however, became a cult favorite for the same reasons that “Plan Nine from Outer Space” became one — it was just too much fun to watch, point out how terrible it is and laugh.
Because of that reputation, the makers of the musical “Xanadu” were met with lots of skepticism. But they persevered. And though it didn’t win any Tonys when it opened in 2007, it was nominated for several.
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And the critics liked it. They really liked it.
“Can a musical be simultaneously indefensible and irresistible? Why, yes, it can,” said The New York Times review.
And this from The New Yorker: “It’s probably the most fun you’ll have on Broadway this season.”
Times are ripe for a bit of confection, says Arizona Theatre Company’s David Ira Goldstein, who is directing the musical, a co-production with the Seattle area’s Village Theatre.
“We haven’t done a screwball, let’s-have-fun musical in several years,” Goldstein says. “It just seemed that this one is a natural.”
Be forewarned: This is not the movie as a musical.
“The movie was the jumping-off point for the musical,” Goldstein says. “If you haven’t seen the movie, you won’t be left out of any of the humor.”
The story is sort of eye-rolling: Nine Greek muses are sent from the heavens to Venice Beach, Calif., to inspire an artist who wants to open — wait for it — a roller-skating disco. Standing in the way of the young artist’s dream is a grumpy old guy who just loves to ruin young artists’ dreams. Love, lessons and silliness ensue.
It is set in 1980, when disco balls and roller skates made a fine match.
It also has some get-up-and dance music that marked the era, including “I’m Alive,” “Evil Woman” and, natch, “Xanadu.” While the movie starring Olivia Newton-John and Gene Kelly flopped, the soundtrack was a big hit.
“The score is great,” Goldstein says. “Classic pop music.”
Douglas Carter Beane wrote the book for the musical, and he said in an interview in September that the creation of the play came out of the mockery that often accompanied the movie.
“Robert Aherns (one of the producers) had gone to some party where the guests started acting out the movie,” Beane said.
Aherns was struck with the concept of a spoof musical and he pursued Beane as the writer.
“I said, ‘What the heck,’” Beane said.
The musical ended up being a delicious experience for him.
“It was a joy,” he said. “Joyful and giddy.”
His favorite part: mocking full-of-themselves theater folk.
“It poked fun at self-involved artists,” Beane said. “It was a wonderful, rewarding show.”
And a bit different for Goldstein to direct.
“Both the process of casting and rehearsing was unlike anything I had ever done before,” Goldstein says.
“First we auditioned for singing, dancing and acting. Then callbacks were at a roller rink.”
A little more than 30 people who had already impressed Goldstein with the traditional skills showed up to learn a dance — and perform it — on roller skates.
Two people were injured just at the audition. “Talk about suffering for your art,” he says.
Then there were rehearsals. The standard “cross the stage here” directions wouldn’t cut it.
“People move really fast on roller skates, and they twirl,” Goldstein says. “It was quite fun to learn a whole new language to direct this.”
The show has just finished a run at the Village Theatre, and the same cast will perform it here. Tucson will be the beneficiary of a show with actors who have the roller skating and other skills down to Goldstein’s precise requirements.
The play will have all the markings of 1980 — black lights, a balloon drop and 42 disco balls, Goldstein said.
Oh, sure, there’s a bit — just a bit — of substance there, he adds.
“It has a wonderful message about the power of imagination and how art can lead to love.”
But, come on now, that’s not the point. A giddy night at the theater is.
“The expectation,” Goldstein says, “is people will come and have a great time.”
