'MO - February 2009 - (Page 29)

Click here to comment on this story. “I was an English major studying literature, but the idea of writing for the theater seemed like a lofty, unattainable goal at that point. At the back of my mind, because of the award, I thought maybe I could do this ‘sometime.’ I got a promotion job at CBS Sports, writing on-air promotions for their TV shows. In 1988, it was [during] the Bush-Dukakis election and I heard about a theater group that was putting together a late night review and they were looking for writers. I joined up and wrote a bunch of sketches for them that turned out to be funny. I started to meet other directors and actors and started writing small sketch shows, done in small late night theaters in NY. Then, I wrote a series of sketches and they eventually morphed into I Love You, You’re Perfect, Now Change [DiPietro’s first big hit]. The producer saw it and said, ‘This is a musical, put music in it.’ I thought it would be easy to write lyrics. So I took some time and studied other lyricists and I was young and stupid and I thought, ‘Of course I can do this,’ not realizing how hard lyrics are.” DiPietro gets asked frequently how he, as a white, gay man, can reﬂect great characters who are black Americans, women, etc. “My theory about writing is that the human experience is a common experience. We all want the same things out of life, but we’re all born into different circumstances, whether it’s religions, genders, regions. You can write any type of characters. I think you just have to put yourself in that person. I think we’re the same underneath. The outsider, the one that is different is the interesting character. This character [in Memphis], he’s a white guy who PHOTO BY KEVIN BERNE p/reviews starts hanging out in black clubs because he loves that music, and then when he brings it to the white world, he’s an outsider there too. He’s an outsider whenever he goes.” And is it easier or harder to include gay characters in his plays? “When you write for theater, you’re very fortunate because you can write whatever you write, unlike movies or television. You can populate it with whoever you want.” Thinking about the intersection of why he started writing and why so many talented writers are gay, DiPietro says, “I think so many creative people are gay because from an early age, you’re an outsider, and I was always a bit of a watcher. In the mid ’70s, I wasn’t that astute, but this is how much times have changed in the last 30 years. I don’t know if I knew that gay actually existed as a possibility. There weren’t any television characters; I didn’t know anyone who identified as gay. Watching All in the Family (for instance), I remembered troubled characters and I didn’t even identify I was like that. “I was in [Rutgers] college in the early ’80s when AIDS became an issue, and was associated with being gay. 1982–83 was ground zero for learning about the epidemic, so it was a terrifying, confusing place; gay people were dying and it was a very scary time. So it was hard for me to equate being gay because of that.” Did he have any particular problems with his family once he came out? “I think they handled it fairly well. It took them a bit, but they became quite fine with it. It wasn’t an overnight. Very Italian, Catholic family. [They PHOTO BY KEVIN BERNE (Left to Right) Daniel J. Watts, John Eric Parker and Jermaine R. Rembert in Memphis at The 5th Avenue Theatre. are] totally loving, drive each other crazy, eventually understand everything, but it can be dramatic getting to that point.” While in La Jolla, working on Memphis, current events were much on DiPietro’s mind, since Obama got elected and he was in California as Proposition 8 passed. “African-American characters in the show from the 1950s could never have imagined that 50 years later, an African-American could be elected president. This show says something about where we came from in terms of race relations. The second issue we were very aware of was Proposition 8. The main relationship [in the show] is a love affair between a white guy and black woman. In Tennessee, like [in] 16 or 17 other states, interracial marriage was illegal, and Prop 8 deals with people who can’t marry who they like. [People should remember] interracial marriage was illegal until the 1967 Supreme Court overturned those laws. [Loving v. Virginia] So, you’re probably wondering if DiPietro’s love life is all settled, if he’s “taken.” He announces that, “I am single and looking, and want to know where all the best places are to go to in gay Seattle.” Go easy on him, so he doesn’t regret how open he is about looking! But wouldn’t it be fun if he ends up staying in Seattle, after falling in love with … the place. For more information, go to www.5thavenue.org or call 206.625.1900. Miryam Gordon writes freelance articles about theater in Seattle, and has published Money Sucks! Money Strategies for Real Life, 2nd Edition, a short, accessible guide to writing budgets and managing your money. Ensemble and Montego Glover (as Felicia) at “Club Delray” in Memphis at The 5th Avenue Theatre, January 27 - February 15, 2009. moseattle.com 29 issue #2 | february 2009 http://www.5thavenue.org http://www.moseattle.com

Table of Contents Feed for the Digital Edition of 'MO - February 2009

'MO - February 2009 Contents Letter From The Editor Voices Pet Project Gay Softball League Seeks New Players Instant Activist: Two Opportunities to Make a Difference Bailey-Boushay’s Chefs’ Dinner Pulls in More Than $285,000 GLSEN Releases Report on LGBT Students of Color Gay City Health Project: Race Relations Form & Function: Partner Workout Power Couple: Senator Ed Murray and Michael Shiosaki Montréal The ’mo Interview: Joe DiPietro New on DVD: Tru Loved Coming to CD/DVD: The Annie Lennox Collection SceneOut: People@Places AIDS Awareness & Action Day 2009 Capitol Hill Guide

'MO - February 2009

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