The Capeman: Paul Simon's Ambitious and Controversial Broadway Venture
In 1988, legendary musician Paul Simon embarked on one of the most ambitious projects of his career: The Capeman. Moving away from the recording studio and into the world of musical theatre, Simon sought to tell a powerful story while challenging the traditional conventions of Broadway. However, the journey from initial research to the final curtain call was marked by creative friction, unorthodox methods, and significant financial risk.
The Creative Genesis and Collaboration
The development of The Capeman began with deep research. Aided by his friend Carlos Ortiz, Simon located and translated source materials and interviewed individuals who had known the show's subject, Agron, during his time in prison. A pivotal moment occurred during a visit to Esmeralda Agron in Puerto Rico; her description of a dream regarding her son's entry into heaven inspired the song "Esmeralda's Dream." Ortiz also connected Simon with Latin musicians, leading to the creation of "Born in Puerto Rico," a centerpiece of the production.
To craft the narrative, Simon collaborated with Derek Walcott, a Nobel Prize-winning poet and author from the West Indies. The partnership was initially strained, as Simon was unaccustomed to such collaboration and Walcott expressed early dislike for the main character. Simon maintained a specific creative order, insisting that the music be composed before the lyrics were written. Ultimately, the music was composed by Simon, while the lyrics were a roughly equal split between Simon and Walcott.
[ไม่มีภาพประกอบ]An Unorthodox Approach to Production
Simon's method of building the show deviated sharply from Broadway norms. While most writers deliver a completed script and score to a director, Simon spent nearly five years and $1 million recording the songs before the production was fully staged. His goal was to retain total artistic control, a stance that created tension within the Broadway community.
Simon was vocal about his desire to reinvigorate a musical form he viewed as stale, suggesting that Broadway music had reached a "cul de sac" because it had not been energized by rock and roll. This perspective was not well-received by industry veterans. Producer Rocco Landesman noted that Simon's attempt to rewrite an art form in a single stroke was presumptuous, contributing to a lack of support from the theater community.
Financial and Personnel Challenges
The production was backed by a team of producers and financiers, including Brad Grey and James L. Nederlander. Despite raising several million dollars, the team lacked experience in Broadway production. The final cost reached an estimated $11 million—an exceptionally high budget for the time. Part of this expense stemmed from Simon's requirement that musicians participate in all rehearsals alongside the actors, a practice not typically followed in the industry.
Simon also inverted the traditional hiring process by appointing the director last. After Mark Morris declined the director role to serve as choreographer, and after hiring set designer Bob Crowley and casting Ruben Blades and Marc Anthony, Simon finally hired Susana Tubert as director.
The Path to Opening Night
The final 18 months before the premiere were chaotic. The production cycled through three directors: Susana Tubert, Eric Simonson, and finally Mark Morris. Even Jerry Zaks was brought in an "unofficial capacity" to assist Morris in refining the material.
Internal conflicts persisted regarding the script. Derek Walcott eventually left the production after resisting requested rewrites. Lead actor Ruben Blades expressed concerns that certain cultural nuances were lost in Walcott's writing, noting that some dialogue would not realistically be spoken by a Latino person.
As the show entered previews in New York, the cast faced the grueling task of performing the original version of the show each night while rehearsing rewritten versions during the day.
[ไม่มีภาพประกอบ]Reception and Closing
The Capeman opened at the Marquis Theatre on January 29, 1998. It was met with poor reviews from mainstream critics. Although producers initially vowed to keep the show running until the Tony Award nominations in May, the production closed on March 28 after only 68 performances.
Reflecting on the experience in 2011, Simon admitted that his inexperience with the medium was a hurdle, noting that writing songs that further a plot is a different discipline than writing popular music and requires a guide.
Key Facts
- Total Budget: Estimated at $11 million.
- Recording Cost: Simon spent $1 million and five years recording songs prior to production.
- Collaborators: Music by Paul Simon; lyrics split approximately 50-50 between Simon and Nobel Laureate Derek Walcott.
- Run Time: Closed after 68 performances.
- Opening Date: January 29, 1998, at the Marquis Theatre.
- Lead Cast: Featured Ruben Blades and Marc Anthony.
| Category | Details |
|---|---|
| Composer | Paul Simon |
| Lyricists | Paul Simon & Derek Walcott |
| Final Director | Mark Morris |
| Venue | Marquis Theatre |
| Budget | ~$11 Million |
| Performance Count | 68 |
Frequently Asked Questions
Why was the production of The Capeman considered unorthodox?
It was unorthodox because Paul Simon recorded the songs over five years before the show was staged, insisted on having musicians in every rehearsal, and hired the director as the final member of the creative team rather than at the start.
Who were the primary creative collaborators on the show?
The primary collaborators were Paul Simon, who composed the music, and Nobel Prize-winning poet Derek Walcott, who co-wrote the lyrics and the book.
What were the main criticisms regarding the script?
Ruben Blades pointed out that some of the dialogue lacked cultural authenticity and that certain nuances of the Latino experience were lost in translation within Walcott's writing.
How did Paul Simon view the state of Broadway at the time?
Simon believed the Broadway musical form had become stale and had entered a "weird cul de sac" because it had not been sufficiently influenced or energized by rock and roll.
What did Paul Simon later admit about his experience with the project?
In 2011, Simon admitted that his lack of experience in theater was a problem, acknowledging that writing songs to advance a plot is a different discipline than writing popular music and usually requires a guide.